





Home 
Dressmaking 




Mrs. J 



ane 



Ford 




Class 
Book. 



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GopightN". 



COPYRIGHT DEPOSIT. 



HOME 
DRESSMAKING 

OR 

DRESSMAKING MADE EASY 



BY 

MRS. JANE FORD 



ILLUSTRATED 



NEW YORK 
CUPPLES & LEON COMPANY 



TT515 



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COFYBIGHT, 1913, BY 

CUPPLES & LEON COMPANY 



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©CI.Ar!477se 



CONTENTS 

CHAPTER PAGB 

I. The Art of Correct Dressing 1 

II. The Corset . . - 3 

III. Guide for Shoppers 9 

IV. Preparing Materials for Use 13 

V. How to Order a Pattern 15 

VI. Adjusting Patterns 19 

VII. Different Kinds of Stitches 27 

VIII. All About Underwear and Negligees ... 40 

IX. Making a Bust Form 48 

X. The Waist 51 

XI. Fitted Waists 60 

XII. The Skirt Proper 69 

XIII. Drop Skirts 77 

XIV. Making Coats and Jackets , . 81 

XV. Infants' Clothes , . 89 

XVI. Children's Clothes 92 

XVII. Making Boys' Clothing 102 



HOME DRESSMAKING 

CHAPTER I 
THE ART OF CORRECT DRESSING 

NEVER before has dress reached the high artistic 
standard that it has to-day. Women of culture 
and good taste refuse to be blown by fashion 
like a feather in the wind and to be forced by modistes 
to wear anything that is termed fashionable, no matter 
whether it is becoming or suitable. 

Dress is a means to an end, the end being to make 
one comfortable and pleasing to look upon. Poor, mis- 
guided creatures that some of us are, believing that be- 
cause garments are costly or pretty in themselves we 
have attained perfection! 

To be really well dressed our clothes must harmonize 
with our surroundings. It is difficult to make some peo- 
ple understand this. Women say, "If I had money I 
would be well dressed." Let it be said right here that 
women who are not tastefully dressed when they spend 
$50 a year on their wardrobe would not be well dressed 
if they spent $5,000 a year on it. 

Garments of one tone are more artistic and truly 
elegant that those that display a combination of color. 
Women can never be pleasingly gowned until they learn 

1 



2 HOME DRESSMAKING 

the unchangeable law of art — that there must be suffi- 
cient plain ground to show to advantage ornamentation. 
It is right here that most women fail to make the best of 
what they have. It is here, too, that they spend more 
money than on any other part of the dress, with less sat- 
isfactory results. 

FOUNDATION OF GOOD DEESSING 

Inexperienced girls and women are apt to be misled 
by the ultra-smart, and believe that to be seen or enter- 
tained at certain places they require showy, expensive 
clothes. We hear much of the gorgeous toilet of the 
Parisian, and are led to believe that it is considered quite 
proper for a French woman to attend the theatre or 
ball half clothed, with only an apology for a corsage. 
It is quite true that a certain class of Parisian women 
do dress in this style and are often aped by women of 
this country, but it shows exceedingly bad taste. 

There are occasions upon which one would feel out 
of place unless gowned in an evening dress. Here, as in 
all other places, let simplicity rule. For the young girl 
who has only a small amount to spend on her clothes, 
there is nothing so sweet and dainty as a sheer cotton 
material made over a slip of silk. As women advance in 
age, crepe de Chine, both in white and delicate shades, is 
inexpensive and becoming. For women well advanced in 
life, the same material in black can be used. On all these 
materials remember that a yard of real lace is worth 
fifty of imitation. 



CHAPTER II 
THE CORSET 

THE new lines in corsets are supposed to be a fash- 
ion. Rather they should be termed an improvement 
in corset making. They are here to stay, and have 
many advantages for slender as well as stout figures, 
since the stays are shaped according to the lines of the 
figure and gives graceful curves that cannot otherwise be 
obtained. In fact, stays for slender figures should be se- 
lected with quite as much thought and consideration as 
those intended for larger figures, because no woman can 
afford to be indifferent to the fit of her corset. 

When buying a corset one often gives the waist meas- 
ure and rests content. This is not enough. Before buy- 
ing take your measurements in the following way: Place 
a tape measure at the normal waist line over the corsets 
then being worn and draw it tightly. The corsets or- 
dered should be two inches smaller than the actual meas- 
urement. 

The under arm length is taken while sitting, and ex- 
tends from the normal waist line to a comfortable dis- 
tance below the armpit, which is generally found to be 
from three to five inches. The length of hip is taken 
while standing, starting at the waist line and extending 
to below the bend of the thigh. This prevents an ugly 
bulge of the flesh. 

8 



HOME DRESSMAKING 



THE CORRECT MODEL 



Whether a high or low bust be selected depends some- 
what on the lines approved by fashion, as well as on one*s 
personal preference. This is a point where if one does 
err it should be in selecting the low bust, for nothing 
can be uglier or more uncomfortable than a corset with 
too high a bust. Besides, a low bust gives a more youth- 
ful figure, and every woman wishes to take advantage of 
this point. It is difficult to S3iy just what length the 
back should be from the waist line to the top of the 
stay, but it must come sufficiently high to give a good 
line, and not allow the flesh or shoulder blades to be 
prominent. 

After the corset has been selected and laced with two 
strings, the tie-ends so arranged that they come at the 
waist line, the stay should be put on while the edges are 
four or five inches apart. 

ADJUSTING THE CORSET 

Hose supporters are most important, and must be 
given due consideration. These are already attached to 
the majority of corsets, but sometimes it is advisable to 
add an extra pair. When not on the corset they should 
be placed there before trying it on. The supporters are 
arranged on each side of the front steels, and at the 
longest point over the hips. For stout figures it is well 
to place an extra pair on each side of the back, about 
three inches from the laced edges. They are caught to 
the hose, and the supporters adjusted by means of 
buckles, so that they do not hang slack. 



THE CORSET 5 

The laces of the corset may then be tightened, com- 
mencing at the bottom and lacing to the waist line; then 
starting at the top and lacing down. At no time should 
the edges be brought closer together than two inches. 
This holds good for the full length of the stays. When 
the corsets are so arranged, if they are found to be too 
large or too small over the hips or bust, or too broad at 
the back, alterations must be made. These can be ac- 
complished at home. Even if it is necessary to call in 
the services of a professional this will be found much less 
expensive than having the stays made to order. Also it 
is quite as satisfactory. 

IMPORTANCE OF THE CORSET 

The foundation of all good dressing is the corset. 
Since the best physicians declare them, when properly 
adjusted, not only harmless, but a support much to be 
desired, the majority of women refuse to give them up 
and are justified in this stand. So much depends on this 
article of apparel that each girl and woman should give 
the matter special attention, and select for herself a 
comfortable and well-fitting model. 

To do this is not a difficult matter if one has a gen- 
eral knowledge of the subject she is about to take in 
hand. Corsets may be had at almost any price, but we 
are often led to believe that to get a satisfactory pair 
of stays, particularly for a stout figure, it is necessary 
to pay a price quite beyond the reach of the average 
pocketbook. 

This is a mistake that will soon become self-evident 
if the prospective purchaser will take the trouble to find 



e HOME DRESSMAKING 

out for herself. It is quite true that one must be willing 
to pay a fair price in order to procure good materials, 
which are essential, but it is not necessary to pay fabu- 
lous prices in order to get a comfortable, well-fitting cor- 
set. 

Whether the corset be laced at the back or front 
may be decided by preference, as we find sometimes one 
and sometimes the other of these styles in equally good 
models. It is necessary, however, that the figure be 
studied carefully. When making selection, see that the 
cut of the corset is in keeping with the lines of the body. 
In other words, do not try to be what you are not. The 
most serious mistakes made in dressing come from this 
universal fault of femininity. Your ideal may be the 
tall, willowy figure, but if you are short and stout and 
you attempt to follow this style blindly the result can- 
not help but be disastrous. 

Therefore, in order to attain some desired effect, do 
not try to wear a pair of corsets that were never in- 
tended for you. ^ 

ALTERING THE CORSET 

Let us suppose that you have purchased a corset, 
that it is satisfactory in the main essentials, but to 
make it perfect fitting a few changes must be made. 
You have learned how to adjust the stays correctly. 
After this is done stand before the mirror and see just 
where alterations are required. If they are to be made 
at the bust, a dart may be taken up or a gusset set in, 
as the case demands. In doing this the greatest care 
must be exercised to see that the finish slopes nicely into 



THE CORSET T 

the lines of the corset and does not end abruptly in an 
ugly bulge. 

The alterations should be made where there is a 
broad piece of material between the bones. The changes 
below the waist line are made in a similar way. They 
may be needed over the stomach, over the hips or at the 
back, and one must study at which place or places they 
are necessary. 

When the back is narrow in comparison with the 
bust measure it may be necessary to take a dart in the 
material at the back in order to have it fit snugly. 
This should start at the top and taper to a point at the 
waist line. 

FOR THE STOUT FIGURE 

The thin woman has a comparatively easy time alter- 
ing a ready-made corset, but her sister, whose greatest 
bugbear is "too solid flesh," has greater difficulty. 

To fit a corset comfortably to a very stout, short- 
waisted figure it is often necessary to cut it down under 
the arm. This alteration requires more time than the 
others, but it is not difficult and is satisfactory when 
finished, if gone about in a careful way. The binding is 
ripped off at the top, several inches each side of the 
spot where the goods is to be cut. The corset is then 
adjusted, and the lines for cutting away the goods 
marked with a lead pencil or pins. 

The bones and steels in this part of the material are 
removed, the goods cut away, the bones and steels short- 
ened so that they come a full inch below the top of the 
corset, and then replaced. A row of stitching should be 



8 HOME DRESSMAKING 

made at the top of each, in order to prevent the bones 
and steels slipping up. The edge of the corset is then 
rebound. 

TO MAKE CORSETS COMFORTABLE 

Many women find that corsets press in the flesh when 
sitting, and are uncomfortable. Pads made of a single 
sheet of wadding about six inches long and three inches 
wide placed on the inside of the corset on each side of 
the front stays will insure perfect comfort and not in- 
terfere with the fit of the garment. These pads must be 
arranged lengthwise along the lower edge of the corset 
so that they cover the ends of the bones and steels and 
yet do not extend below the bottom of the stays. 

For stout figures the brassiere has become a neces- 
sary adjunct to the corset. These fitted skeleton waists 
blend the line from the waist up and entirely hide the 
break that necessarily comes at the top of the corsets, 
and that is very ugly when apparent. They are bought 
by bust measure and, like the corsets, may require a lit- 
tle adjustment. 

It is quite necessary, in order to keep the lines of the 
figure comely, that a corset be worn at all times, ex- 
cept when reclining. No greater mistake can be made 
than to have a cheap (which invariably means inferior) 
pair of stays for wear about the house. 

The woman who expects to have any sort of a figure 
should wear stays regularly. She should have two pairs 
of corsets, both equally good-fitting. One pair may be 
kept for best wear and the other for every day, but the 
latter should always be adjusted and laced as carefully 
as if for a dress occasion. 



CHAPTER III 
GUIDE FOR SHOPPERS 

BARGAINS are advertised from time to time by 
all the leading stores, and these bargains are 
well worth considering, because the prices are far 
below what you could get the same article for at any 
other time. The old saying, "Beware of a bargain," is 
uncalled for in this day, when dealing with reputable 
shops. 

The materials, etc., are of the quality represented, 
but are under priced because buyers are able to get 
what are known as job lots. This means that manu- 
facturers have on hand certain articles that they do not 
wish to carry over to another season, and in order to 
get rid of them in a single lot a special price is made. 
There are various business reasons why it is to the ad- 
vantage of the shops to make such an offer even when 
the quality of the goods is quite up to the standard. 

By embracing the opportunity offered by the shops 
to buy such goods, one often saves from one-third to 
one-half of the amount it would be necessary to spend if 
the shopping were done in the regular way. 

REMNANT SALES 

Sales of manufacturers' samples should always be 
taken advantage of, if the list printed includes any 

9 



10 HOME DRESSMAKING 

article that will be of use to you. Such goods are often 
of exceptional value, being the very finest of their kind, 
but they have been displayed by salesmen, and are not 
quite as fresh as if direct from the factory; they are 
by no means worn-looking, however. 

Sales of remnants should be considered, if one is 
looking for dress or trimming materials. On these tables 
are found all lengths and grades of goods that are left 
after selling off regular dress patterns. These may be 
had at half or less than half the price they sold for 
originally by the yard. The pieces are often of suffi- 
cient length for children's clothes, for trimming, for sep- 
arate waists and for dressing sacques. Frequently two 
or three pieces of the same material can be found that 
together will be sufficient for a whole dress. 

PLEASING COMBINATIONS 

When looking over the remnants, pleasing combina- 
tions present themselves, and a dress may often be 
worked out in this way. At "short end" sales of silk 
and ribbon perfectly lovely things can be picked up for 
fancy work and trimmings, and if good taste and good 
judgment are displayed, wonderful results can be ob- 
tained. 

For women who wish to be well dressed, but who 
must practise economy, bargain counters are a boon. 
One need not hesitate to visit the "clearing sales" at the 
end of each season and buy, even though the purchase 
must be laid away for use the following year. Money 
spent in good staple stuff in regular shades of blue, 



GUIDE FOR SHOPPERS 11 

brown, red or green and also black or white will not be 
wasted, because these colors in goods of regular weaves 
are always worn and are much more elegant than cheap 
imitations of high-class novelties. 



TO ASSIST THE SHOPPEE 

When one is considering the purchase of materials 
for various garments, unless familiar with the different 
weaves and their wearing qualities, it is often diiRcult 
to make a selection. To assist readers the following list 
of staple weaves is given. It by no means contains the 
names of all the materials sold for developing the vari- 
ous garments, but it gives the names of the most popu- 
lar weaves. 

THE DIFFERENT WEAVES 

Materials for waist and tub frocks are as follows: 
Sheer wash weaves are cotton marquisette, cotton voile, 
batiste, perlin cloth, India linen and lawn. 

Heavy wash weaves are: Cross-barred muslin, linene, 
cotton poplin, cotton rep, madras, linen, shirting, ging- 
ham, percale. 

Materials for waists or dressy frocks are as follows: 
Sheer weaves are chiffon, silk voile, silk marquisette. 
Heavier weaves are crepe de Chine, taffeta, pongee, lib- 
erty silk, messaline, foulard. 

Materials for separate skirts or whole frocks are as 
follows: Wash weaves are linen, crash, serge, pique, In- 
dian head, percale. 

Silk and woollen weaves are: Pongee, cashmere, hen- 



12 HOME DRESSMAKING 

rietta, poplin, serge, cheviot, broadcloth, camel's-hair 
cloth. 

Materials for coats, jackets or capes are: Tweed, 
homespun, cheviot, broadcloth, serge, coatings (novelty 
weaves). 

Materials for lining are as follows: Silk weaves are 
silk serge, taffeta, duchess, satin. 

Cotton weaves are percale, silesia, cotton taffeta, 
lawn and batiste. 

Materials for yokes are all-over lace, all-over em- 
broidery, net and chiffon. 

Materials for negligees are as follows: 

Wash weaves are cotton crepe, flannelette, lawn, dot- 
ted Swiss and wash silk. 

Woollen weaves are cashmere, henrietta, albatross, 
French flannel, wool crepe and eiderdown. 

Silk weaves are crepe de Chine, China silk, India 
silk, foulard, pongee, liberty silk and messaline. 

Materials for lingerie are longcloth, cambric, nain- 
sook, lawn, plaid muslin, cotton flannel and cotton crepe. 

Apron materials are gingham, linen and mohair. 

Trimmings for lingerie are: — 

Laces — Valenciennes, Torchon, Cluny and Irish cro- 
chet. 

Embroideries — Swiss, Hamburg, French, blind and 
eyelet. 



CHAPTER IV 
PREPARING MATERIALS FOR USE 

TO PREVENT SPOTTING 

MANY goods are sold with the understanding 
that the necessary precautions to prevent spot- 
ting and shrinking have been taken, but unless 
there is a guarantee to that effect the purchaser 
is taking great risks not to guard against all danger 
of having a garment spoiled by treating the goods as 
it should be treated before making it into a gown. 

Woollen weaves are sponged for two reasons — to 
prevent them spotting, and to keep the goods from 
shrinking when it is pressed after the garment is made. 

Place a cotton cloth, thoroughly saturated with 
warm water, so that it covers the entire surface of the 
goods, and roll the whole as tight as possible. The 
goods should then be wrapped in several thicknesses of 
dry muslin and laid away for twelve hours. When 
the material is unwrapped it must be hung on a line 
to dry as quickly as possible. If care has been taken 
to keep the goods smooth enough to work with it will 
not be necessary to iron it, as the garment when 
finished will require a thorough pressing. 

Cotton and linen weaves are certain to shrink more 
or less when laundered and when the necessary pre- 

13 



14 HOME DRESSMAKING 

cautions to prevent such a disaster are not taken the 
shrinkage is often so great that the garment is rendered 
useless. To prepare these materials, keep them in the 
original folds and lay them flat in the bottom of a 
bath or laundry tub. Cover them with tepid water, 
and allow them to remain there for several hours, 
after which they must be thoroughly dried before they 
are used. 



CHAPTER V 
HOW TO ORDER A PATTERN 

A KNOWLEDGE of how to take measurements 
for ordering patterns is very necessary both 
for the professional and amateur dressmaker. 
When taking these measurements it will be of great 
assistance to know the corresponding hip, waist and 
bust measurements of patterns, and for this purpose 
the table below is given: — 







FOR WOMEN 






Bust 


Waist 


Hip 


Bust 


Waist 


Hip 


32 


20 


37 


40 


28 


48 


34 


30 


301/2 


42 


30 


51 


36 


24 


42 


44 


32 


541/2 


38 


26 


45 


46 


34 


571/2 



The bust measure is taken at the fullest part of 
the bust. To ascertain the correct measurement of the 
hips the tape is placed six inches below the normal waist 
line. To take the waist measure the tape is placed 
around the body at the waist. The measuring tape 
should be drawn close, but not so that it is tight. The 
importance of giving measurements accurately must 
not be lost sight of, for all patterns are cut by a stand- 
ard basis, and if the measurements are not complied with 
the result will not be satisfactory. 

15 



16 



HOME DRESSMAKING 



Patterns for misses' garments may be ordered either 
by the ages, which run fourteen, sixteen or eighteen 
years, or according to the table of measurements given 
below. When a girl is unusually large or unusually 
small for her age, it is better to refer to the table 
and take measurements accordingly. Misses' patterns 
in the larger sizes are also suitable for small women, 
and if intended for them should be ordered by the bust 
measurements set forth in the table. It should be 
remembered that in this case it is sometimes necessary 
to lengthen the skirt, directions for which will be given 
in a future article. 



FOR GIRLS 



14 years, 
16 years, 
18 years. 



31 bust, 
33 bust, 
35 bust. 



25 waist, 

24 waist, 
23% waist. 



341/2 hip 
37 hip 
40 hip 



Patterns for boys and girls are ordered in the 
same way as those for misses, either by age or measure- 
ment. It is preferable to give the age except in cases 
where the child is very much under or over size ; then 
one should refer to the following table of measure- 
ments : — 



FOR GIRLS 

2 years 201/^ bust 

4 years 22% bust 

6 years 24 bust 

8 years 25 bust 

10 years 27 bust 

12 years 29 bust 



FOR BOYS 

2 years 20% breast 

4 years 22% breast 

6 years 24 breast 

8 years 25 breast 



HOW TO ORDER A PATTERN 17 

Those who are not familiar with the use of patterns 
are often at sea after they have taken one from the 
envelope. The usual pattern is composed of a number 
of pieces of which the amateur dressmaker has no knowl- 
edge and consequently she becomes discouraged. 




Before taking the pieces of tissue paper from the 
envelope read carefully the directions on the label, and 
be sure that you understand them, for it is impossible 
to go at the work intelligently unless the general plan 
is perfectly clear. Next see that the size marked on 
the envelope corresponds with the size ordered. The 
pattern may then be taken from the envelope and the 



18 HOME DRESSMAKING 

number of pieces counted. Again refer to the envelope 
and see that the number of pieces of tissue paper you 
have in hand corresponds with the number of pieces 
given on the label. 

The cutting chart on the pattern envelope will 
also be of great assistance to the home dressmaker. It 
shows the various parts of the pattern placed in position 
on the cloth. 



CHAPTER VI 
ADJUSTING PATTERNS 

CHANGING WAISTS 

THERE are a great many women whose figures 
vary from the standard measurements of a pat- 
tern in the length of the waist, sleeves, or skirt 
and also in the bust and waist sizes. 

It is easy enough to change a pattern to make it 
fit perfectly if one only knows how. The way to do 
this is given in the following instructions: — 

We will talk first of a waist or coat which is length- 
ened or shortened at the waist line by slashing or plait- 
ing the pattern. Ascertain the amount of alteration 
necessary by measuring the figure from the centre back 
at the neck to the waist line and comparing the meas- 
urements with the pattern. Then measure from the pit 
of the arm to the waist line and compare this measure- 
ment with the pattern. 

Next the front measure is taken from the centre 
front, at the neck, to the waist line, and this is com- 
pared as the others were. Changes may be required in 
all, or only one or two parts of the pattern. 

Sometimes the pattern will be the right length under 
the arms but too long or short at the back. In this 
case, the plait or incision which extends straight across 

19 



20 



HOME DRESSMAKING 



the width of the back should be made about four inches 
below the neck at the centre back, folding over or sepa- 




rating the pattern on the goods sufficient to give the re- 
quired measiurements. (See Figure 1.) 

When the length from the arm down must be altered, 
lay the tuck or make the incision as the case may be, 
two and one-half inches above the waist line. (See Figure 
2.) When the latter change is required it is always 
necessary to extend the alterations across the under 
arm pieces. (See Figure 8.) 

As a rule a similar change is required at the front. 
This is arranged for by cutting the dart through the 
centre between the perforation two and one-half inches 
from the waist line up. (See Figure 4.) Two and one- 
half inches from the waist line, at the under arm seam, 
fold or cut the tissue straight across to the top of the 
incision made in the dart. (See Figure 5.) The alter- 



ADJUSTING PATTERNS 



21 



ation is made in the same way from the dart to the 
centre front of the pattern. (See Figure 6.) 

When the pattern to be altered is too long from the 
bust to the shoulder the change necessary is made by 
slashing or folding the tissue three and one-half inches 
below the neck at the centre front. This is shown in 
Figure 7. When these changes are made the edges of 
the pattern will be uneven, but the goods must be graded, 
as shown in the illustration. 

The next illustration shows the method of slashing 
a pattern in order to have it jSt when the bust is un- 




usually large. If the bust is unusually small, folds 
are made in the tissue in exactly the same position as 
indicated by the slashes. 



22 



HOME DRESSMAKING 



Alterations such as talked of are not required in 
loose fitting blouses or in shirt waists. In these gar- 




ments it is only necessary to readjust the band at the 
waist in order to get the required results. 

To shorten or lengthen a sleeve pattern take the 
tape, and with the arm stretched at full length, meas- 
ure from the arm socket, at the front, which is about 
opposite the fullest part of the bust, to the wrist, just 
above the thumb. Six inches from the top of the sleeve 
along the inside seam, slash or fold the pattern straight 
across. If the sleeve is in two pieces, an upper and 
under portion, the changes must be made at exactly the 
same point in both pieces. 



ADJUSTING PATTERNS 



23 



CHANGING SKIRTS 

In ordering a skirt pattern for a figure that is un- 
usually large it is of great importance that the hip meas- 
ure be taken. If it does not correspond with the waist 
measure given in the table of measurements, be sure to 
order by the hip size, for the waist can be taken in or 
let out without difficulty, while it is not possible to alter 
the hip size so satisfactorily. 

In order to ascertain whether it is necessary to 
change the length of a skirt pattern, hold it up to the 
figure, with the waist line in place, and see whether it 




requires lengthening or shortening. The slash or fold 
used in the alteration is made across each gore about 
fifteen inches below the waist line. The edges will be 
uneven after the changes are made, just as in the waist 
and sleeves, but they are graded when cutting the ma- 
terial. 

It is quite a simple matter to decrease the size of 



24 



HOME DRESSMAKING 



the waist line in proportion to the hips. The alteration 
is made when fitting the skirt, after the gores are basted 
together, by making each seam a little wider. The in- 
verted plait at the back must never be altered, as any, 
change at this point would spoil the shape of the skirt. 
When the waist size is to be increased the goods should 
be cut a little wider than the pattern at each seam, 
from the hip to the waist. 

When the abdomen is very prominent it is necessary 
when cutting out a pattern to allow material to extend 




above the top of the pattern. This prevents the skirt 
from being raised at the lower edge of the front, poking 
out in an ugly point. 



PLACING AND CUTTING PATTERNS 

When cutting out a pattern the material should be 
placed flat on a smooth surface. A large dining table 
is excellent for the purpose, but if one is not to be had, 
a sheet or a piece of muslin may be pinned to the car- 
pet to protect the goods, and the cutting done on the 
floor. 

It is advisable to pin all the pieces of the pattern 



ADJUSTING PATTERNS 25 

on the material before cutting any of them out, because 
in this way one is able to move them around until they 
are placed to the best advantage. 

The widths of materials employed are so varied that 
charts indicating how to lay the pattern cannot be given 
in every case. The following direction may, however, be 
rigidly adhered to with perfect confidence: — 

Find out whether the material has a nap, or up and 
down. The direction in which the nap runs may be 
ascertained by rubbing the hand over the right side of 
the goods, and all the pieces of the pattern must be 
placed so that the nap or figure, if it is a figured de- 
sign, runs toward the bottom of the garment. Should 
any one piece of material with a nap be cut in a differ- 
ent position from the others the goods would shade and 
appear to be of a different color, which would completely 
spoil the appearance of the garment. 

In a figured design the effect would be equally dis- 
astrous. Likewise the greatest care must be taken to see 
that the pieces are laid properly on the grain of the 
goods. 

PLACING THE PATTEEN 

To assist one in properly arranging a pattern, a line 
of perforations is placed through each piece of the pat- 
tern and complete directions for placing the pieces are 
printed on the label. 

All edges to be laid on a fold of the goods are marked 
* * * so that there can be no mistake made. These 
must be taken care of first, and if the goods is not 
double width it must be folded double, lengthwise, for 



26 HOME DRESSMAKING 

a sufficient distance to cut these parts of the pattern. 
After they are cut, if the goods is without a nap or up 
and down, the most economical and satisfactory way to 
work is to fold the two ends of the goods together 
straight across, with the right side in, and pin the pat- 
tern on it doubled. 

When the goods is double width it is left in the 
original fold and the pattern placed. The large pieces 
should always be arranged first, because there is gen- 
erally sufficient room left between them to lay smaller 
pieces. Single width goods with a nap must be folded 
lengthwise throughout the centre, and if, when laid in 
this way, it is not wide enough to cut the garment with- 
out piecing, each piece must be cut separately from the 
full width of the goods. Each piece must be laid per- 
fectly smooth and pinned firmly in position, so that 
it will not slip, before commencing to cut. A large pair 
of sharp shears must be used for the cutting, and the 
line of the pattern must be accurately followed, making 
a clean cut with no ragged edges. After all the pieces 
are cut out the notches are clipped. These markings 
must be made just as shown in the pattern, for not only 
do they indicate which pieces are to be joined, bmt the 
notches must be arranged exactly opposite each other 
when basting in order to bring the various pieces in 
the proper place. 



CHAPTER VII 
DIFFERENT KINDS OF STITCHES 

NOWADAYS a garment is seldom made by hand, be- 
cause machines with their various attachments do 
such wonderfully satisfactory work that it really 
seems a waste of valuable time to sew by hand. It is, 
however, quite necessary, in order to get the best results, 
to be thoroughly familiar with the different hand stitches, 
for as a rule some hand sewing is required on every gown. 
There are few women who do not know the names of 
the various stitches used in ordinary sewing, but one often 
forgets just how they are made or the uses to which they 
are put. 

Basting stitches are used temporarily to hold in place 
the various pieces of a garment, preparatory to stitching; 




of these there are two kinds — even and uneven. Although 
it is often a matter of preference w^hich of these stitches is 
employed, the uneven is generally used. The materials to 

27 



28 



HOME DRESSMAKING 



be basted should, if possible, be laid flat on a table, but if 
the character of the seam is such that this is not possible, 
care must be taken to see that the goods is kept straight, 
otherwise it would pucker and spoil the set of the garment. 
Begin the basting with a good sized knot that will 
not pull through the material, and let it come on the right 
side so that it will not be difficult to remove. Pass the 
needle over and under the material, and make the stitch 




that is taken up on the needle about one-third shorter than 
the space covered by the thread, as shown in Figure 1. 
Even basting is started in the same way, but as the name 
indicates, the stitches and spaces are of an even length. 
(See Figure 2.) 

HAND STITCHING 

There are three different kinds of hand stitches — the 
back stitch, half back stitch and combination stitch. These 
are used for regular sewing when machine stitching is not 
desired or thought practicable. The first, back stitching, 
is a series of stitches, one taken over the other, with a 
short stitch on the upper side and a long one on the under 
side, bringing the needle out the length of the short stitch 
in advance. The needle is inserted to meet the last stitch, 
passing it under the goods and out again a stitch in ad- 



DIFFERENT KINDS OF STITCHES 29 

vance of the one just taken. It is fastened off by taking 
two stitches over and over the last one made. (See 
Figure 3.) 

A half back stitch may be used instead of the back 
stitch and is made the same as a back stitch, with this 
exception: the needle is inserted half way back instead of 
at the same place where the last stitch is taken, and 
leaves a space between each stitch. 

A combination stitch is used in sewing sheer, light- 
weight material, where the seams do not require a great 
deal of strength. It combines one back stitch and two 
small running stitches. The latter are made the same 
as even basting stitches, but much shorter. (See Fig- 
ure 4.) 

HOW TO MAKE A HEM 

A hem is a fold of goods turned to finish the edge 
of a garment. It is most important that it be accurately 
folded, and the turn must always be made toward you. 
When about to make a hem see that the raw edge is per- 
fectly even, then crease the edge over one-quarter of an 
inch, exactly, pressing it between the thumb and fore- 
finger in order to have it stay in place. Take a piece 
of cardboard and mark it with a notch, the exact width 
the hem is to be when finished. 

Place the end of the cardboard at the turned edge 
on the wrong side of the goods, and with a thread, 
tailor's chalk or a lead pencil mark on the goods the 
desired width. The hemming stitch is slanting. 

Point the needle toward the middle of the left thumb 
and take up one or two threads of the cloth, and at 



30 



HOME DRESSMAKING 



the same time one or two threads at the edge of the 
fold. The hem should be held across the end of the 
forefinger of the left hand in an easy position. (See 
Figure 5.) 

OVERCASTING 

In every sort of sewing, elaborate or simple, we 
meet with overcasting. This is a slanting stitch used 




FKtURC 2 



to keep the raw edges of seams from fraying. To take 
the first stitch hold the material loosely in the left hand 
and insert the needle so that it points to the left shoul- 
der; draw the thread through to within one inch of 
the end of the thread; turn this end to the left and 
take three stitches over it to fasten. The stitches should 
be one-eighth of an inch deep and one-eighth to three- 
eighths of an inch apart. (See Figure 1.) 



OVERHANDING 

When selvages are to be joined the work is most 
neatly done by overhanding. To do this the two edges 



DIFFERENT KINDS OF STITCHES 31 

are basted together and then sewed with the overhand 
stitch, which is made by inserting the needle so that 
it points toward you and a very little to the left. 

Take up as few threads as possible on the selvage 
of each piece, and do not draw the stitch too tight, so 
that the seam may be opened out flat when finished and 
not form a cord. (See Figure 2.) This joining is 
generally used when working with muslin for sheets, pil- 
low cases and for piecing underclothes. 

The overhand stitch is used in making a damask hem 
on table linen. After a narrow hem is turned, fold it 
back on the right side and overhand the edges formed. 





PlQrURg a 



-^ ^ ^s ^ V^v^vV^v 



FK5-URE 4 ^ 






Take up only a few threads on each edge, and when fin- 
ished flatten out the hem with the thumb. (See Fig- 
ure 3.) 

CATCH STITCH 

Catch stitching is a small stitch used to hold the 
edges of the seams of flannel and similar materials in 



82 HOME DRESSMAKING 

place. There are two ways of arranging the seams to 
be catch-stitched; one is of the fell order. In this ar- 
rangement after the seam is sewed trim off one edge 
quite close to the stitching and fold the other over it 
to cover the raw edge. 

Insert the needle under the edge at the upper left 
hand corner; cross the edge and take a small stitch a 
short distance to the right, through the entire thick- 
ness of the goods. In the same manner cross again and 
insert the needle so that it makes a similar stitch above. 
The needle must always be pointed to the left and placed 
so that it incases the raw edge. (See Figure 4.) 

To catch-stitch seams when the edges are opened out 
flat insert the needle under the upper left hand corner 
of the opened seam, cross the raw edge and take a small 
stitch a short distance to the right through the entire 
thickness of the goods. 



ROLLING AND WHIPPING 

This is necessary in making fine waists, dainty 
garments for children and fine underclothes. Hold the 
right side of the material toward you, and at the 
right hand end start to roll the edge between the 
thumb and forefinger toward the left for about two 
inches. The needle and thread used must be fine. After 
making a knot at one end, insert the needle under 
the edge of the roll at the right hand end and fasten 
it off with a stitch or two. Overcast the edge as far 
as the goods is rolled, taking the stitch below the ma- 
terial. 



DIFFERENT KINDS OF STITCHES 33 

To continue the roll, hold the part just made between 
the thumb and forefinger of the right hand and roll the 
goods with the left. Continue in this way across the ma- 
terial. 

FELLS 

In the making of underwear flat fells are used a 
great deal. They are made by taking the regulation 
three-eighths of an inch seam on the wrong side of the 
garment, after which the edge near you is trimmed close 




to the line of sewing. Turn the other edge down flat 
to cover the line of sewing, turn in the raw edge, and 
after basting it in position finish by hemming it down 
or with machine stitching. (See Figure 1.) 

The French fell is used on dress waists, children's 
clothes, and also on long seams of underclothes, such 
as nightgowns and petticoats. It is made by joining 
the two pieces with a narrow seam on the right side. 



34 



HOME DRESSMAKING 



which is trimmed close to the line of stitching. Turn 
the goods so as to cover entirely the raw edges and 
bring the seam on the wrong side. Make a row of stitch- 
ing one-quarter of an inch from the edge so that it en- 
cases the one previously taken. (See Figure 2.) 

MARKING TUCKS 

When marking tucks they must be accurately 
marked, and if not provided for in the pattern used 



RS^ 

' -'^'"" 




FIQ-URE 3 




^ 



nc50RE 4 




they must be made in a straight piece of material, and 
the piece of the garment for which they are intended 
cut out afterward. They should be marked with a gauge 
made from a piece of stiff cardboard, cut the size of the 
tucks desired, the edges of which are notched. 

When one wishes to work several tucks, in order to 
have them exactly the same distance apart the measure 



DIFFERENT KINDS OF STITCHES 35 

should be cut with a second notch, by which to measure 
the distance from the fold of one tuck to the fold of 
the other. For example, if tucks are to be one-quarter 
of an inch deep and one-quarter of an inch apart the 
first notch is made in the cardboard by slashing it 
straight across, one-quarter of an inch deep. One- 
eighth of an inch below this slash make a diagonal in- 
cision to meet it. In this way you get a notch with one 
straight and one bias edge. The straight edge of the 
notch is cut the distance from the top of the cardboard 
that the tucks are to be when finished. One inch from 
the top slash the cardboard and make another notch. 
These measurements must of course be varied with the 
width and spacing of the tucks. 

Such a measure will simplify the marking. The tucks 
are then either basted in position and stitched, or sewed 
by hand with a running stitch. (See Figure 3.) 

FACINGS 

These are of two characters, those that are fitted 
and those made from a bias of goods. They are applied 
by placing one edge of the facing to the edge of the 
material so as to bring the seam on the right side. The 
other edge of the facing is turned in one-quarter of an 
inch and basted down. The facing is then turned up on 
the goods and a basting thread run along the turned 
^dge to keep it in position. The opposite edge is then 
basted to the goods and finished by hemming or by 
machine stitching placed one-eighth of an inch from 
the edge. (See Figure 4.) 



HOME DRESSMAKING 



GATHERING AND SHIRRING 



A gathering stitch is an uneven running stitch, which 
is taken in the same way as an uneven basting stitch, 
but is much smaller. The tinier the stitch the prettier 
will be the gathers. A double thread should not be used 




except in very heavy goods, where strength is required. 
It is better to run the needle through the material sev- 
eral times so as to get several stitches on it before re- 
moving it from the goods. 

When finished it will add much to the good appear- 
ance of the work if the gathers are stroked. To do 
this, remove the needle and draw the gathers up tightly, 
place a pin in the goods at the last stitch and wind the 
thread around it several times so as to hold them in 
place. Take the work between the thumb and finger of 
the left hand and with a coarse needle stroke each 
gather both above and below the thread. Care must be 



DIFFERENT KINDS OF STITCHES 



37 



taken not to tear or scratch the material. (See Fig- 
ure 1.) 

Shirring is made by taking several rows of gathers. 
(See Figure 2.) A corded effect may be obtained by 
folding the material along the line where the gathering is 
to be made and running the gathered thread close to 
the edge. 

BUTTONS 

When sewing on buttons, except on very fine material, 
always use a double thread, knotted at the end. Insert 
the needle so that the knot will come on the right side, 
directly under the button. Bring it up through a hole 
in the button, and down through an opposite hole to 




B C 



the wrong side of the garment, first placing a pin over 
the bottom and between the holes, so that the thread 
passes over it. Do not remove the pin until the neces- 
sary stitches to fasten the button have been taken. 



38 HOME DRESSMAKING 

If the button has four holes, turn and sew through 
the other two holes before removing the pin. When 
the pin is taken out draw the button away from the 
goods so as to form a shank; place the needle so it 
comes out under the button and wind the thread around 
the shank five times. Then pass the needle to the wrong 
side of the goods and fasten off by taking three over and 
over stitches. (See Figure 3.) 

BUTTONHOLES 

It is difficult to tell a person how to make a button- 
hole without actually showing them, but if these direc- 
tions are followed, with a little practice success will come. 

A buttonhole must always be cut straight with the 
thread of the cloth. The simplest and most effective way 
to proceed is to bar the edges with the thread or twist 
to be used for the working. Put the needle in from 
the wrong side at the lower right hand side of the in- 
cision and at the far edge from the fold of the material. 
(See Figure 4-A.) Carry the thread to the opposite end 
and take two stitches. Then take the thread back on 
the opposite side — see Figure 4-B — so that you start 
to work the buttonhole close to the corner of the start- 
ing point. 

Insert the needle — see Figure 4-C — and while in this 
position, pointing toward you, bring the double thread 
around to the left, under the needle. Draw the needle 
through the loop formed until the thread is quite firm, 
but not tight, and let the pearl formed by the thread 
come exactly on the edge of the goods. 



DIFFERENT KINDS OF STITCHES 39 

Repeat this stitch until the edge is worked, inserting 
the needle each time a thread or two from the last stitch 
taken. At the end work the stitches into a curve and 
then finish the opposite side of the opening the same 
as the first. (See Figure 4-D.) A bar is used to finish 
the end, which is made by putting the needle through 
to the wrong side and making several buttonhole stitches 
on the bar on the wrong side. 



CHAPTER VIII 
ALL ABOUT UNDERWEAR AND NEGLIGEES 



UNDERCLOTHES 



EVERY woman likes dainty, pretty lingerie, both 
for herself and her children. Lovely things may 
be made with only a small outlay of money if 
one is willing to give a little time to the making. It is 
not at all necessary to do the sewing by hand in order 
to have the garments attractive, for there is no part 
of the work, with the exception of the buttons and but- 
tonholes, that cannot be done equally well on the machine 
with its numerous attachments. The time saved is well 
worth considering. 

Materials for^this class of work vary in price from, 
twelve and a half cents a yard to fifty cents, but for 
every-day wear it is not wise to pay above twenty cents 
a yard, because in the higher priced goods the threads 
are almost too fine to withstand the wear and tear of 
ordinary laundering. Nainsook, cambric and longcloth 
are the weaves usually used for undergarments, and for 
trimmings Hamburg embroidery and torchon lace wear 
nicely. German Val is pretty, but almost always gives 
out and is in threads before the garment is half worn out. 

Women who have contended with the work of incom- 
petent laundresses find it wise to avoid as much as pos- 
sible using lace and frills on underclothes. Very pretty 

40 



UNDERWEAR AND NEGLIGEES 41 

garments can be made and trimmed with tucks, and 
where edgings and ruffles are really necessary fine lawn 
cut across the grain of the goods, hemmed, tucked and 
gathered makes an excellent substitute for the more ex- 
pensive and less durable edgings of lace. As a substitute 
for beading at the yoke of nightgowns and corset covers 
use a casing of lawn through which the tie ribbon or 
tape is run. The casing is cut on the bias about one 
and one-quarter inches wide. One edge is sewn to the 
material with an ordinary seam arranged to come on the 
right side of the goods. The other edge of the facing 
is turned down three-eighths of an inch and the goods 
folded over so as to conceal the raw edges of the seam. 
Along the turned edge of the casing is made a row of 
stitching through the material. 



MAKING UNDERWEAR 

When underwear is made no raw edges of material 
are left exposed. Every seam is a French or flat fell. 
The French fell is generally used for what may be termed 
the regular seams, which are those joining the different 
parts of garments or joining two pieces of embroidery, 
or joining embroidery to the material. When material 
is to be joined for the purpose of adding breadth to a 
width, which is often necessary in cutting drawers, petti- 
coats or nightgowns, or in any other garment where 
the material is not quite as wide as the pattern calls 
for, the edges, if they have selvages, are joined with an 
overhand seam. When one or both of the edges are 
raw, a flat fell is used. 



42 HOME DRESSMAKING 

CORSET COVEES 

In corset covers all seams are made with French 
fells, including the darts, if the model is fitted. The clos- 
ing edges, whether back or front, are hemmed. The yoke 
and armholes are finished with an edging of lace or em- 
broidery, joined to the corset cover by means of a strip 
of beading or insertion. At the waist line the garment 
can be finished either with a strip of beading faced upon 
the right side of the corset cover or with a peplum. 

The latter method is preferable for stout figures, as 
the short skirt is fastened down under the petticoat and 
keeps the garment in place. Both ends and the lower 
edge of the peplum should be hemmed; the upper edge 
and the corset cover are joined by means of a French 
fell. 

The French fell is used to join the edges of each leg 
portion of the drawers and also in closed drawers to 
join the two portions in the seam that runs from the 
front to the back. In open drawers this seam is not 
joined, but each leg is faced along this edge, on the 
wrong side, with a bias strip of the material about one 
and one-half inches wide. 

Stitch the facing to the material with a three-eighths 
of an inch seam, commencing at the waist at the front, 
easing it at the curve of the joining seam in the leg 
and continuing up the back edge to the waist line. Fin- 
ish the facing in the regular way. 

The waist line of the drawers is then faced and the 
two legs joined at the front by overhanding the front 
edges together from the waist line down one and one- 



UNDERWEAR AND NEGLIGEES 43 

half inches. Tapes arranged so that they can be brought 
to the front and tied, or buttons and buttonholes, hold 
the drawers in place. 

When drawers are made with a yoke, the yoke por- 
tion should be cut double and the edges of both pieces 
turned down one-quarter of an inch at the top. To the 
lower edge of the inside of the yoke join the leg portion 
of the drawers, as directed on the pattern label, with a 
quarter of an inch seam arranged so that it will come be- 
tween the two yoke portions. The edges of the yokes 
are then basted together all the way around and fin- 
ished with a double row of stitching, placed one-eighth 
of an inch from the edge and one-eighth of an inch 
apart. 

PETTICOATS AND NIGHTGOWNS 

All seams in petticoats are made with a French fell. 
The seam at the centre back will be on the bias, and to 
prevent its sagging a piece of narrow tape should be 
sewed in with the first stitching from the lower edge of 
the vent to the bottom. To finish the vent in the easiest 
and most satisfactory way take a straight piece of the 
material lengthwise of the goods, and selvage edge if 
possible, about two and one-half inches wide and twice 
the length of the vent. 

Start at the t(?p of the left side of the skirt, so as 
to bring the seam on the right side, being careful not 
to stretch the edges. Then baste the strip to the edge 
of the gore from the top to the very bottom of the 
vent, and there ease the strip a little and continue the 
seam up the edge of the other gore. 



44 HOME DRESSMAKING 

Turn down the opposite edge of the strip one-quar- 
ter of an inch and baste it so that it conceals the raw 
edges of the seam, and so that the turned edge of the 
goods comes directly on a line with the seam. Then 
stitch it in place. On the overlapping edge of the petti- 
coat this extension should be turned back at the top on 
the right side, but it is allowed to extend on the opposite 
side. 

THE FINISHING 

The top of the petticoat must be finished with a fac- 
ing not over one-half inch wide when completed. If the 
petticoat is made with gathers at the back the facing 
may be used as a casing for the gathering tape. In a 
plain model, hooks and eyes or buttons and buttonholes 
are used to effect a closing. 

Petticoats are generally finished at the lower edge 
with a dust ruffle of the material about three inches 
wide, which is sewn to the edge of the skirt. They are 
further elaborated with a deep flounce from twelve to 
fifteen inches wide, applied after the skirt is finished, 
and placed so that the lower edge of the flounce is ex- 
actly even with the lower edge of the ruffle on the skirt. 
At the top the raw edge is concealed under a tuck in 
the skirt, which is basted down and stitched close to the 
edge, or a strip of the material or braid can be placed 
over and stitched on both edges. 

All seams of nightgowns are made with French fells. 
When the garment does not slip on over the head, hems 
finish the closing edges. The sleeves are placed ac- 
cording to the notches in the patterns, and the arm-hole 



UNDERWEAR AND NEGLIGEES 45 

seams may be finished either with a French fell or with 
a binding. 

TO PLACE THE SLEEVES 

To place the sleeves for a fell finish, pin together 
the notches in the armhole and in the sleeves, so that 
the seams come on the right side of the garment, and, 
starting at the notch at the front, baste them together 
downward with an ordinary seam from that point to 
the notch at the back, and fasten the thread. From that 
point to the shoulder seam, and from there to the notch 
at the front, gather the fulness of the sleeve to fit the 
armhole. After properly distributing the gathers, finish 
basting the sleeve and armhole together. Stitch the 
sleeve in place, and then cut the raw edge close to the 
seam and turn the goods and make the fell. 

When a yoke model is to be made the yoke should be 
cut double and the seams joined with a fell. The top of 
the skirt portion of the garment is slipped between 
the two yoke pieces, and the edge finished with a row 
of stitching. 

THE MAKING OF NEGLIGEES 

Bath robes, dressing sacques, breakfast jackets, plain 
and fancy kimonos, all come under the head of negligees. 
They are all simple and easy to make, and if a becom- 
ing model is selected the garment is sure to be satisfac- 
tory when finished. Either light or heavy weight ma- 
terials may be used for their development, and the goods 
may be as inexpensive or as costly and the trimming 
as plain or elaborate as the taste of the wearer dictates. 



46 HOME DRESSMAKING 

In these garments, with the exception of the bath 
robes, which are always plain, one's fancy may run riot 
without the least fear of criticism, for these dainty 
creations are lovely when some striking and individual 
feature is evident. One woman, who always has a num- 
ber of pretty negligees w^hich if bought ready made would 
cost fabulous prices, confides that every inch of material 
in each of the gowns is bought at a bargain sale. Odds 
and ends of silk, which if purchased by the yard would 
cost three or four times what she paid for them, were 
picked up at ridiculously low prices from remnant tables. 
In these short ends there is hardly enough for a waist 
or a dress, but sufficient, when combined with lace and 
ribbon, to make a perfectly charming negligee. 



AN INEXPENSIVE GARMENT 

However, it is the inexpensive and more practical 
negligee in which most women are interested, and for 
these, too, bargains may be had. If one can get a short 
length of fine lawn or gingham at the same price that 
an inferior piece would cost if bought by the yard why 
not take advantage of the opportunity? 

The special weaves of goods in either cotton or silk, 
with lovely colorings, specially intended for these gar- 
ments, well deserve mentioning. These materials are 
comparatively inexpensive and launder beautifully. There 
is also silk mull, China silk and pongee, all of which 
make delightfully light, comfortable and durable negli- 
gees. 



UNDERWEAR AND NEGLIGEES 47 



A FRENCH FELIi 



vVhen making negligees the seams, whether of silk, 
cotton or woollen goods, are all made with the French 
fell, except when using very heavy materials such as are 
employed for bath robes. The seams of such goods are 
finished with a flat fell or they are pressed open and the 
edge bound with a narrow strip of sheer lawn or silk 
galoon. 

Banding is a very popular finish for the neck, front 
and sleeves of kimonos, and is usually cut from a con- 
trasting material. It is applied as a facing. Sleeves 
are completed before they are sewed in and the armholes 
are finished in the same way as those of a nightgown. 
When yoke models are selected the lower portions and 
yoke are joined in the same way as they are in children's 
clothes. 

Feather stitching and French knots are much used 
as a finish on all garments of this character, and add so 
much to the good appearance of the gown that it is well 
worth the extra time spent in doing this work. On the 
plainer garments intended for utility this hand work 
is usually arranged to outline the facing or banding, 
but on more elaborate creations it edges tucks, lace in- 
sertion and motifs. 



CHAPTER IX 
MAKING A BUST FORM 

FOR the woman who makes her own clothes a bust 
form is indispensable. Without this adjunct 
one must try a gown on repeatedly, and even then 
it is not always easy to see whether the desired result 
has been attained. In fact it is almost impossible to 
fit oneself satisfactorily without a form. These are not 
expensive even when made according to special measure- 
ments. If, however, one prefers to save the extra cost 
of a specially made dummy, a form of papier-mache in 
staple measurements can be purchased at any department 
store. It should be ordered one or two sizes smaller, 
so that it can be padded to fit. 

To do this select an ordinary lining pattern closing 
at the front and cut the parts from unbleached muslin, 
cotton, duck or heavy linen. Be sure to observe the 
small perforations that show how the pattern is to lie 
on the grain of the goods. 

TO FIT THE LINING 

After transferring all perforations, notches, &c., join 
the seams according to the directions on the label. Some 
patterns provide for a hem at the front and others re- 
quire a facing. After the finish is made, try the waist 



MAKING A BUST FORM 49 

on and pin the fronts in position, commencing at the 
top, and fit the waist carefully. To do this will require 
some little time and trouble unless one can have as- 
sistance, but once a perfect fit is obtained hours of un- 
necessary labor will be saved. 

Most figures deviate from the standard measurements 
to an extent that the lining will need a certain amount 
of adjustment, but if decided alterations are necessary 
the pattern should first be altered as directed in a 
previous article. 

To fit the lining draw the goods well up on the shoul- 
ders, but not enough to pull it up from the waist line, 
and take the material up or let it out at the under arm 
and back seams. The darts may also require taking up 
or letting out, but under no circumstances must their 
position be changed; that is, they must not be moved, 
back or front. 

Baste the alterations and then stitch the seams care- 
fully. Again try the waist on and see that it is entirely 
satisfactory. Place a tape around the waist at the 
normal waist line, and with a thread mark where the 
lower edge of the tape comes on the lining. 

COVERING THE rORM 

Press open the seams of the fitted lining and from 
the marking at the waist line up, bone them as if for 
a regular lining. It is not necessary to finish the edges, 
but fold the front edges over at the centre and stitch 
one-eighth of an inch back from the edges. Around the 
armholes baste a piece of tape to prevent the goods 



50 HOME DRESSMAKING 

stretching. At the neck attach a shaped standing col- 
lar of canvas cut double. 

The lining is now ready to be placed on the form. It 
must be drawn well up at the neck and pinned together 
for two or three inches below the collar line, and the 
same distance from the bottom up. With cotton wad- 
ding pad between the form and lining wherever needed 
until it fits as it will when worn. Care must be taken 
to keep it smooth and even. As the padding progresses 
pin and sew the edges of the front together with an 
overhand stitch, using heavy linen thread. The figure 
must be padded until it is firm enough not to dent in 
handling, and special care must be taken around the 
shoulders, neck and armholes. 

If this work is properly done one will be more than 
repaid for the time spent in doing it by the great amount 
of work saved in the future. 

A sleeve is not used with these forms, but it is a 
great convenience to have a form on which this part of 
the waist can be draped. It can be made by stitching 
a two piece lining pattern according to the directions 
on the pattern label and padding it with cotton wad- 
ding. To finish it, an oval piece of the material is sewed 
at the opening of top and bottom of the sleeve. 



CHAPTER X 
THE WAIST 

THE field covered by shirtwaists and blouses is 
very large; in fact, waists of every description, 
with the exception of a fitted basque, come under 
the head of one or the other of these styles. The severe 
tailored shirt waist of linen or other tub goods is modeled 
after a man's shirt, and when it is elaborated, added to, 
and finally developed in chiffon, net or lace, it is called 
a blouse, though the general lines are not changed. 
While a certain amount of care and exactness is re- 
quired in making these waists, there is really very little 
work on them unless elaborate trimming is planned. 

BASTING THE SEAMS 

The patterns are bought by the bust measure, and 
as a rule very little fitting is required. After the goods 
is cut out and all preparations, notches, etc., carefully 
marked, the tucks and plaits provided for must be 
basted according to the directions on the pattern label, 
then stitched and pressed before the various pieces of 
the garment are joined. 

Except in very heavy materials the seams are basted 
so they come on the right side. At this stage the waist 

51 



52 HOME DRESSMAKING 

is tried on and pinned in position at the back or front, 
wherever the waist is to close. 

The neck is first to be considered. One must be 
careful when making any adjustment necessary. 

If the waist is to be worn with a stock or laundered 
linen collar, the goods must not be cut away too much, 
but rather must fit snugly to the base of the neck with- 
out being tight or high. 

FITTING THE NECK 

If it is too large at this point it may be necessary to 
take up the shoulder seams in order to bring the goods 
closer to the neck. Whether they are taken up an equal 
distance straight across, or slanted from the neck to 
the armholes, will depend upon the set of the garment. 
It will be well first to try taking up the seam all the 
way across, but if the armhole pulls, or the waist is 
drawn out of place, then the seam must be slanted. When 
this change is made the material may be a little high 
at the centre, front or back of the neck, and, if so, 
it must be rounded out to fit. 

FINISHING A SHIRTWAIST OR BLOUSE 

After the neck of a blouse is fitted the armholes 
must be looked after. The required changes are made 
by taking up or letting out, as the case may be, the 
under arm seams. The openings must be large enough 
to assure perfect comfort, but the goods must sit close 
to the body, in order to have the waist look well when 
finished. 



THE WAIST 53 

If the adjusting of the under arm seams does not 
give the desired result, move the arm backward and for- 
ward and the goods will crease and mark itself, showing 
the line where it should be cut away. With a pair of 
shears slope the armhole out, a little at a time, being 
careful to retain a pretty curve. 

SEAMS OF HEAVY MATERIAL 

When a satisfactory fit is obtained the seams must 
be basted according to the pinning, and then stitched. 
In tub or light weight woollen goods they are finished 
with a fell, but if the material is heavy, and the turn- 
ing of the seams will make a thick, ugly roll, then the 
seam should be pressed open and the edges should be 
overcast. 

Another way of finishing seams of heavy material is 
to lay them flat, turning both edges of the under arm 
seams, and those of the shoulder seams, toward the 
front of the waist and making a welt by placing a row 
of stitching three-eighths of an inch back from the 
seam through both the waist and turned edges. 

COLLAR AND COLLAR BAND 

After the seams of the waist or blouse are completed 
it is ready for the collar or collar band, as the case may 
be. Both are cut from a double piece of the goods, 
and must fit exactly the neck of the waist. To get the 
length accurately, find the centre of the base of the 
collar piece and also the centre front or back of the 
waist, then place the two together and measure, allow- 



54 HOME DRESSMAKING 

ing sufficient at each end of the collar for a three- 
eighths inch seam. The collar pieces or bands are then 
stitched together, except at the lower edge, after which 
they are turned right side out. One side of the un- 
finished edge of the collar is pinned to the neck of the 
waist, basted and seamed; the other edge is turned 
down three-eighths of an inch and basted so as to bring 
the seam just made between the two pieces of the col- 
lar, completely hiding the raw edges. A row of stitch- 
ing, placed one-eighth of an inch from the edge all the 
way around the collar or band, finishes the upper edge 
and ends, and holds the lower edge in position. 



SLEEVES FOR WAISTS AND BLOUSES 

There is no part of a waist that is affected so by 
the changes in fashion as the sleeves, but no matter what 
the change of line may be the difference is always the 
outcome of one of two styles, namely the bishop sleeve 
and the coat sleeves. 

The coat sleeve is cut so that it gradually becomes 
smaller from the shoulder to the wrist, and whether 
finished with a cuff or a plain hem it is without gathers, 
except possibly at the top, where the sleeve is joined 
to the waist. 

The bishop sleeve is full at the top and gathered in 
to a cuff or band at the wrist. 

When making sleeves the long seams of either style 
are finished to correspond with the seams of the waist. 
If a cuff is used on a coat sleeve it can be made a part 
of the sleeve, or it can be made separate, joined by a 



THE WAIST 



55 



seam and turned up on the sleeve. When the cuff is 
made in one with the sleeve it must be placed and stitched 
flat to the sleeve at the upper edge of the cuff before 
the outside seam is joined. The lower edge is then 




WP.(2>T f=iMi3M OF A 



turned up and faced with a bias strip of soft silk 
hemmed down by hand. 

If the sleeve has a turnback cuff the cuff must be 
made double and completely finished before it is joined 
to the lower edge of the sleeve. This is done either 
with a French fell or in the way the collar is joined 
to the neck of the waist. 



FINISHING THE CUFFS 



Sleeves of the bishop style generally have the cuffs 
left open at the outside edge in order that they may be 
buttoned over, close to the arm, which makes them ap- 



56 HOME DRESSMAKING 

pear neat and trim. In order to simplify the ironing 
and to let the upper edge of the cuff lap with ease it 
is necessary to have an opening in the material above 
the cujff that extends up for a couple of inches. 

The quickest and simplest way to make a sleeve of 
this character is to sew the long seam in the upper por- 
tion and then hem the edges of the opening cut in the 
outside of the sleeve. The cuff is made double and is 
joined to the upper portion of the sleeve in the same way 
that the collar is joined to the waist. Any fulness in the 
upper portion must be gathered so that it is confined 
between the notches in the cuff, provided for by the 
pattern. The cuff is finished with a row of stitching 
placed three-eighths of an inch from the edge all around. 

PLACING SLEEVES 

When the sleeves of a blouse are completed it is 
not difficult to place them in the waist if one under- 
stands how to go about the work. As a rule, when ar- 
ranged according to the notches the sleeves will set 
correctly, but if changes have been made when fitting 
the waist sometimes it throws the sleeves too far back 
or front. 

To ascertain whether they can be correctly placed 
without making any change gather the fulness at the 
top of the sleeves and baste the sleeves in the blouse. 
Try the waist on and if the set is not entirely satisfac- 
tory rip the sleeves out and place them so that the in- 
side seam comes on a line with the thumb when the 
arm is stretched at full length. 



THE WAIST 67 

So arranged, you may feel assured that the sleeves 
are in the proper position. 



FINISHING THE ARMHOLE 

The armhole seams can be finished either with a 
French fell or with an ordinary seam bound with a 
narrow bias strip of soft silk or lawn. To make this 
finish in the quicker way one edge of the binding strip 
should be basted and sewed in with the seam. The op- 
posite edge is turned down folded over the seam, so 
that it conceals the raw edges and is either hemmed down 
by hand or stitched, 

THE WAIST BAND 

When the blouse is completed with the exception 
of the waist finish it should be put on and carefully 
adjusted at the neck and closing, and the material ar- 
ranged so that it hangs straight from the shoulder down. 

While in this position take a piece of narrow tape, 
pin it tight around the waist and if necessary rearrange 
the material in order to have the grain of the goods per- 
fectly straight from the shoulder down. 

In this position pin the tape to the material so that 
the fulness will be kept in the proper place. When the 
waist is removed baste the tape to the waist along both 
edges and stitch it flat along the lines of basting. To 
do this satisfactorily it may be necessary to gather the 
material between the pins before the edges of the tape 
are basted. 



58 



HOME DRESSMAKING 



THE PEPLUM 

There are two ways of finishing blouses below the 
waist line. The peplum finish is by far the nicer, and 
a waist intended for a stout figure should always be 
arranged in that way. 

Many patterns provide this piece. If, however, it is 
not included one can easily be made by cutting from the 
double of the goods a semi-circular piece half the length 




of the waist measure and about three and one-half inches 
wide, the ends and lower edge of which are finished with 
a narrow hem. The goods of the waist is cut away be- 
low the tape, the upper edge of the peplum turned 
down one-quarter of an inch and basted flat and stitched 



THE WAIST 69 

along the lower edge of the tape on the wrong side of 
the waist. 

If one does not care to give the time to making a 
peplum the waist can be finished by simply hemming 
the edge of the material that extends below the tape. 
If the material is very heavy it is preferable to pink 
the edge, as a hem is apt to show when the skirt is 
over it. 



CHAPTER XI 
FITTED WAISTS 

FITTED and boned waists are preferred by some 
women. To make and fit a waist of this order 
is considerably more difficult and requires more 
time than the making of a blouse. However, there is no 
reason why the work cannot be satisfactorily done at 
home, if one is willing to give attention to the details. 

For such a waist a lining is necessary, and it should 
be of some lightweight, firm material, such as percale or 
silk, which will cling to the figure and set nicely, not 
stretching, however. If the bodice is to be draped the 
lining is made separate, and all the seams are bound, 
pressed open and boned before the outside goods is 
caught to it. If the waist is not draped or is only 
partly draped, the pieces of the plain fitted portion and 
the lining are basted together and seamed at the same 
time. 

BASTE THE TWO TOGETHER 

After all parts of the garment are cut out and ac- 
curately marked, if the style of the waist permits, baste 
the lining and outer material together with long stitches 
and then join the seams according to the notches. If 
the whole waist is draped, then baste only the lining 
pieces together and seam them. The under arm and 

60 



FITTED WAISTS 



61 



shoulder seams should be basted so that they come on 
the right side, as this arrangement simplifies the fitting. 
When the waist is put on for a fitting draw it to- 
gether and pin the two raw edges together as if for a 
seam. Without raising or dropping the waist line, aa 
is indicated by the pattern, draw the material up well at 
the shoulders so that it is snug and does not wrinkle 
either back or front. In the same way, fit the material 
across the bust and back, by adjusting the under arm 
seams. 

MAKING ALTEEATIONS 

Pin the alterations carefully, and if the neck or arm- 
holes are not perfectly comfortable they may be made 




OUTSIDE MATERIAL BA5TED 
a TO FITTED LIMIMC^^ 



larger by sloping away the goods slightly, but the great- 
est care must be taken not to gouge into the cloth and 



62 HOME DRESSMAKING 

spoil the shape of the garment. When the armhole is 
tight, if the arm is moved backward and forward sev- 
eral times it will crease the goods, and the line marked 
may be followed for cutting. 

At the front and back of the waist the material must 
be shaped to fit close to the base of the neck so that when 
the collar is joined it will be snug and not pull away 
from the neck. In order to assure accuracy the altera- 
tions talked of must be made in the one side only and 
the opposite side cut the same. 

BONING 

When a waist is satisfactorily fitted the seams must 
be stitched, with the exception of the shoulder and under 
arm seams. The latter must be left open in order to 
seam with the one stitching the lining and outside ma- 
terial. If only the front of the waist is draped the 
under arm seams should also be left without stitching. 

In order to have the seams of a waist shaped to the 
figure, and to prevent wrinkling, notch them at the waist 
line and also two or three places above that point. Bind 
the seams neatly with taffeta seam binding, or overcast 
them with silk. If a hem is not provided for on the 
closing edges of the waist it will be necessary to have a 
facing. For the purpose shape two pieces of the lining 
material to correspond with the front edges of the waist. 
Make each piece two inches wide and apply these fac- 
ings in the regular way. The seams are then pressed 
open. 



FITTED WAISTS 



63 



MEDIUM WEIGHT BEST 

For boning the seams there is nothing better than 
whalebone. A medium weight is preferable, as it works 
to better advantage, and if it is soaked in warm water 
a needle can easily be passed through it. This is bought 
by the yard, cut the desired length and the ends 
rounded. The bones should run to about five inches 
above the waist line, and this point must be marked on 
each seam. 




Procure a piece of bone casing and cut from it strips 
of sufficient length to cover the whalebones, allowing a 
full inch extra for doubling over at each end. Run 
the bones in the casings and double over the upper end. 



THE COVERED BONE 



Place the end of the covered bone at the marking 
on the seam. Do not sew them fast at that point, but 
begin three-quarters of an inch down and hem each edge 



64^ HOME DRESSMAKING 

of the casing to the seam. The bones must end about 
one-half inch above the raw edge of the bodice, at the 
waist line, and here they are finished and held in place 
by turning up the casing. 

A belt of webbing is cut to fit the figure, finished 
with a hook and eye, and stitched at the centre to the 
centre back or front seam of the bodice, according to 
the closing. The lower edge of the belt is placed one- 
half inch above the waist line and sewed firmly in place 
by a series of catch stitches, caught to the inside of the 
seam and extending across the width of the belt. 

DRAPING A WAIST 

When the seams of the lining are boned, the waist is 
ready to have the outside draped, and here the bust 
form can be used to advantage. The outside material 
is cut by the pattern and placed according to cor- 
responding perforations and notches, full directions for 
which are given on each pattern label. The seams of 
the lining, in which the outside material is to be stitched, 
have the bastings cut and are pulled apart. 

The outside material is then adjusted in this way: — 
After the piece for the back of the waist has been ar- 
ranged according to the directions on the pattern label, 
it is pinned to the lining straight down the centre back. 
It is then pinned across the shoulders toward the side, at 
the armholes and at the shoulder seams, also down the 
under arm seams. The goods must be pulled until it is 
tight, but not stretched, and the pins must be placed 
close enough so that it will be kept firm. 



FITTED WAISTS 65 

THE FRONT PART 

The front is then draped in a similar way, first plac- 
ing the corresponding notches or perforations, as the 
case may be, together at the neck and shoulder seams. 
If the goods is of a very elastic nature and is cut on 
the bias, it may be necessary when draping it to dis- 
regard the notches at the under arm seams and at the 
waist line. In this case the goods should be drawn a 
little more tightly than would be necessary with ma- 
terial of a firmer texture. 

When the drapery is arranged, the front pieces must 
be pinned carefully around the armholes and all unneces- 
sary fulness smoothed away from under the arms, so 
that it gives a pretty close fit. Any extra material is 
allowed to go in the under arm seam and is afterward 
cut away. Both sides of the waist must be draped so 
that they are exactly alike before the shoulder and under 
arm seams are rebasted. 

The waist is then tried on, and if the set is satisfac- 
tory, the unfinished seams are stitched, bound and 
pressed open. The under arm seams are boned to cor- 
respond with the other seams of the waist. 

FINISHING A BASQUE 

There are two ways of finishing a basque at the 
waist line. The simpler is to baste the lining and ma- 
terial together and stitch a bias silk facing strip one 
and one-half inches wide to the right side, holding it in 
place with a row of stitching placed three-eighths of an 
inch from the edge. Baste the facing up on the wrong 



66 HOME DRESSMAKING 

side of the basque, and, after turning in the raw edge, 
catch-stitch it to the lining. 

Waists that are to be worn without a belt are pretty 
finished with a cord. To make this finish in one with 
the facing, cut a strip of the goods two inches wide. One- 
half inch from the edge turn the strip and baste in a 
medium sized cable cord. Turn the lower edge of the 
waist up and baste it in position. Lay the corded 
edge of the casing with the turned edge toward the 
wrong side of the waist and allow the corded edge 
to extend beyond the edge of the waist. 

In this position it is sewed by hand to the turned 
edge of the waist with an ordinary back stitch, run just 
above the cording. The upper edge of the facing can 
be turned and catch-stitched down, or it may be pinked 
and held in place with a running stitch. A thorough 
pressing on the wrong side will flatten the edge and 
greatly improve the appearance of the waist. 

SLEEVES 

Sleeves are always important, because they make or 
mar a waist, and as there are two that must be exactly 
alike the greatest precaution must be taken to see that 
every detail is accurately carried out on both. 

Before cutting the goods read over the directions on 
the pattern label and then make any alterations neces^ 
sary in the pattern, as instructed in the chapter on 
"Adjusting Sleeve Patterns." The lining and goods may 
then be cut and basted for a fitting. Much depends 
upon correct basting, and a very bad setting sleeve may 



FITTED WAISTS 6T 

result from carelessness. Therefore observe every notch 
and perforation. 

A DRAPED SLEEVE 

There are so many different styles of sleeves used in 
waists that it would be impossible to give minute direc- 
tions for proceeding with the work; therefore, one must 
study the directions that come with each sleeve, but a 
few general suggestions will be of assistance. 

If the sleeve is to be* draped, the lining and outside 
are seamed separately, but in a close fitted model thq 
material and lining are basted together and both ma- 
terials caught in the stitching of the inner sleeve. When 
a fancy sleeve is being made the lining must be basted 
and fitted first and the material should be draped to 
the lining while it is on the arm. In placing the out- 
side material pin the corresponding notches to those in 
the lining and gather any fulness at the top to fit be- 
fore tacking the goods to the lining for draping. 

The sleeve comfortably fitted and draped, it must 
be finished at the wrist. An interlining of crinoline, 
one or two inches deep, should be placed at the bottom 
of each sleeve. The strip should be cut on the straight 
of the goods, and fitted in the sleeve, so that it does not 
draw or wrinkle while the sleeve is on the arm right 
side out. It is first pinned, and then basted in posi- 
tion, after which the sleeve is turned wrong side out and 
the edge turned up three-eighths of an inch, catch- 
stitched in place and pressed. The wrist is faced with 
a bias strip of silk, sufficiently wide to cover the crino- 
line and to hem down on the turned edge of the sleeve. 



G8 HOME DRESSMAKING 

The sleeve is turned right side out, and any extra trim- 
ming required must be arranged before the sleeve is 
joined to the waist. 

ABOUT THE COLLAR 

Now a word about collars. No matter where the 
closing of the waist may be, the collar of a fitted basque 
is usually hooked at the back. If the dress material 
is used for the purpose it should be interlined with soft 
tailor's canvas that has been previously shrunk. If 
the waist is closed at the back the adjusting of the col- 
lar is a very easy matter, for it is simply stitched all 
around to the waist, but on a waist that does not close 
at the back, the collar is stitched to the neck on the 
right side from the centre back to the edge of the front 
or side closing, and the edge of the neck from that point 
to the back is faced with a narrow bias strip of the lin- 
ing. To the left end of the collar sew three hooks on 
the inner side, and two hooks at equal distances apart 
on the left side of the lower edge. 

The facing of the collar should be cut from silk, and 
shaped to fit, allowing sufficient material for a three- 
eighths of an inch turn on each edge. After the edges 
are basted down pin the lining in position on the inside 
of the collar, and hem it to the edges of the collar and 
to the neck of the right side of the waist where the col- 
lar is joined. 

On the right end of the collar work three button- 
holed loops for the hooks, and two on the left side of the 
waist at the neck to catch the hooks in to prevent 
the collar slipping up. 



CHAPTER XII 
THE SKIRT PROPER 

WITH the demand of fashion, from lime to time, 
the style and cut of skirts vary, but at all 
times and in all models the principles of mak- 
ing are the same. However, one should not ignore special 
directions that are given on the pattern labels of the 
various models. 

The making of skirts is divided into five parts, as 
follows: — First, the top or waist finish, which consists 
of a belt or binding; second, the finish at the lower edge, 
which consists of a hem or a facing, and the addition of 
a binding or braid ; third, the placket ; fourth, the plaits, 
either of the side or box plaited order; fifth, the seams. 
Of these there are three kinds : — First, the regular seam, 
with the edges finished and pressed open; second, the 
welt seam, which is given a single or double stitching as 
a finish; third, the strapped seam. 

No matter what material may be selected for a skirt, 
it is made in the regular way. After the goods is cut 
out, having, of course, observed all the directions on 
the pattern label, if it is a gored model the pieces are 
basted together, with the exception of those where 
the placket opening is to be arranged. If there is an 
inverted plait at the back this is basted in position ac- 
cording to the markings and the skirt is tried on right 

69 



70 HOME DRESSMAKING 

side out. The garment must not be turned, because 
with the great majority of people one hip is a little 
larger than the other, and in order to have the skirt 
hang properly it must be fitted as it is to be worn. 

MAKING ALTERATIONS 

The seams must be evenly basted in order to have 
the work satisfactory when finished, and when changes 
are necessary the goods is taken up or let out at the 
seams. When the changes are considerable a slight 
alteration should be made at each seam in preference 
to making the change at any one point, as when the 
pattern is drafted it is so planned that each gore 
is in relative proportion with that preceding and fol- 
lowing it. If care is not taken to preserve these pro- 
portions the lines of the skirt are spoiled and the 
result consequently disastrous. 

The alterations must be turned so as to bring them 
on the wrong side, and any changes that are made 
should be basted, after which the skirt is again tried 
on. If entirely satisfactory, stitch the seams along the 
lines of the bastings. 

When the seams are to be finished in the regular 
way the edges are bound with a silk galoon that comes 
for the purpose and are pressed open by laying a damp 
cloth on the wrong side and ironing until perfectly 
dry. 

FINISHING SKIRT SEAMS 

In sheer wash materials regular seams are not 
opened, but the raw edges overcast together and turned 
toward the back of the skirt and pressed. 



THE SKIRT PROPER 71 

If a strap finish is employed the seam is pressed 
open and over the right side is basted a straight piece 
of the goods, about one inch wide when turned with the 
raw edges folded under and basted, so that they meet 
each other. The strap is stitched on each side, one- 
eighth of an inch from the edge. This is also pressed 
from the wrong side in the same way as the plain seam. 

The welted seam is used on all materials, but is 
specially desirable for sheer silk and woollen weaves 
such as voile, challis and veiling. This finish is made 
by taking a regular seam and turning it when finished, 
without opening, toward the back or front of the skirt 
and then making a row of stitching on the right side 
of the skirt, through the turned seam, a given distance 
from the seamed edge. If a broad welt is desired, the 
seam must be taken wider and the extra width needed 
must be allowed for when cutting the gores. This 
seam, like all others, is pressed on the wrong side. 

THE PLACKET 

The placket on the majority of materials can be 
arranged as described for the drop skirt. This ar- 
rangement is most satisfactory, as the finishing strip 
that forms the facing and extensions is in one instead 
of being pieced at the bottom, thus making it impossible 
for the skirt to rip or tear. 

In very heavy cloth, serge or cheviot, this mode 
of finish may prove a little clumsy and therefore not 
desirable. In this case, two pieces of material are 
used, each two inches wide and one inch longer than the 



72 HOME DRESSMAKING 

placket opening. They must be on the straight of 
the goods long ways, and a selvage is preferable. The 
raw edge of each piece is sewed to the edge of the 
placket opening so that the seam comes on the wrong 
side. On the right side of the skirt the applied piece 
is faced back on the wrong side of the goods and 
the raw edge catch-stitched flat, care being taken not 
to let the stitches show through on the right side. The 
strip on the left side is allowed to extend and the 
raw edge is finished by cutting tiny triangular pieces 
from the goods. 

The placket is then folded over so that the faced 
edge meets the stitched edge of the extension and the 
seam below the placket is basted and stitched. This 
seam is almost always finished in the regular way. When 
the placket is at the centre back the seam is always 
on the bias and therefore must, in order to prevent 
its stretching and thus allowing the skirt to sag, have 
a tape basted and stitched in with the seam. The tape 
must be kept straight and not allowed to sag or be 
pulled. The skirt is turned on the wrong side, and with 
the placket closed, the lower edges of the extension 
and facing pieces are overcast together. 

BELTING A SKIRT 

If a belt is to be used as the waist finish for 
the skirt, nothing is nicer for the purpose than a piece 
of heavy silk ribbon about one and one-half inches 
wide. Grosgrain is preferable to other weaves. It is 
applied by basting the ribbon along the right side 



THE SKIRT PROPER 73 

of the top of the skirt, so that the lower edge of the 
ribbon comes one-quarter of an inch below the edge of 
the material. The ribbon is then doubled over so 
that it completely hides the raw edge at the top of 
the skirt, and is basted in this position. A single row 
of stitching holds the belt in place. When a belt of 
the material is preferred a lengthwise strip of the goods 
must be used. The piece should be about two inches 
wide, and one edge is joined to the waist line of the skirt 
with an ordinary seam. The opposite edge of the strip 
is turned down one-quarter of an inch and the goods 
folded over so that it conceals the raw edges of the 
seam. The edge of the belt should be hemmed by hand 
to the wrong side of the skirt, and a row of stitching 
made to finish the ends and top of the belt. 

For very stout figures a facing is preferable as a 
waist finish for a skirt, and it is applied in the same way 
as on the drop skirt. 



FINISHING THE BOTTOM OF SKIETS 

The lower edge of a skirt is generally finished with 
a hem, unless the skirt is cut with considerable flare, 
which latter prohibits a hem because it would be neces- 
sary to pleat in so much material at the top of the 
hem that it would not set nicely. On such skirts a 
fitted facing is used. 

To arrive at the correct length of a skirt, slip it 
on and turn it up even all around. If possible it is 
well to have some one assist with the work. Mark all 
around with pins or tailor's chalk the line where it 



74 HOME DRESSMAKING 

touches the floor. After the skirt is taken off it can 
be shortened and made any length desired by marking 
the distance above the line. 

The goods should be turned on the marking that 
indicates the desired length, so that the hem will come 
on the wrong side of the skirt, and a basting run along 
the turned edge in order to keep it in place. 

To complete the hem, notch the edge of a piece of 
cardboard one-quarter of an inch deeper than the hem 
is to be when finished. This is used as a measure and 
will allow one-quarter of an inch for a turn in at 
the top of the hem. With the end of this measure 
placed at the turned edge of the skirt, go all around 
the lower edge and mark the turned hem the distance 
indicated by the notch. Along this line cut the goods off 
evenly and then baste down the one-quarter of an inch 
turn which is allowed. 



TO BASTE 

Lay the skirt flat on the floor or table, or slip 
it over an ironing board, and proceed to pin and baste 
the upper edge of the hem in position. The seams should 
lie directly on top of each other, and where any ful- 
ness comes between them it is disposed of by making 
several small plaits. 

To finish the hem, stitch it on the right side as 
close to the edge as possible. If the basting is carefully 
made so as to bring the thread in the right position, 
it will be of great assistance as a guide when stitching. 

A thorough pressing is absolutely necessary in order 



THE SKIRT PROPER 75 

to make the lower edge set properly, and it is done 
in the regular way, by placing a damp cloth on the 
wrong side and ironing it until perfectly dry. The iron- 
ing board or table used for the work must be well padded 
or the goods will become shiny. 

When the lower edge of a skirt is to be faced, the 
length of the skirt is ascertained as for a hem, and 
the goods cut off one-quarter of an inch below the line, 
showing the length desired. This allows for seaming the 
facing to the edge. The facing is then cut to fit ex- 
actly the lower edge and any width desired; the lower 
edge of the pattern can be used as a guide for sloping 
the facing. 

Be sure to allow for seams at each side of the 
various gores, in order that the pieces can be joined. 
After they are sewed together and the seams pressed 
open, the full edge of the facing is stitched to the right 
side of the lower edge of the skirt. The facing strip 
is turned up on the wrong side of the skirt and conceals 
the seam. 

PINK THE UPPER EDGE 

As the materials on which this finish is employed 
are liable to be heavy, it will be better to pink the 
upper edge of the facing instead of turning it in. It 
is held in place by a row of stitching made one-quarter 
of an inch from the top. Properly arranged, a facing 
of this kind will have the appearance of a hem. 

Every skirt, except those of tub materials, should 
have the lower edge protected by a braid that can be 
bought specially for the purpose. It must be arranged 



76 HOME DRESSMAKING 

so that it extends beyond the goods at least one-eighth 
of an inch. 



PLAITED OR TUCKED SKIRT MODELS 

Skirts that show plaits or tucks which run length- 
wise, must have all perforations in the pattern that 
indicate folds, etc., accurately marked on the goods. 
These plaits or tucks must be basted firmly in position 
before the skirt is tried on. If the work is done accord- 
ing to the directions on the pattern label there can be 
no mistake, and one will be surprised to find that such 
models require very little more time to develop than 
a plain gored skirt. 

Tucks that run around the bottom of the skirt 
are sometimes very troublesome to arrange. An ex- 
cellent substitute for this form of trimming is bias 
strips of the material, cut a little more than twice the 
width they are to be when finished. The strips are 
doubled so that one edge comes one-quarter of an inch 
below the other, and the extending edge is turned dowri 
over the other edge and basted. 

This strip, which is called a "fold tuck," is basted 
in position on the skirt and stitched close to the upper 
edge. Such tucks are practical for tub frocks, as 
well as for those of silk and woollen materials. 



CHAPTER XIII 
DROP SKIRTS 

WE term a skirt unlined when the goods and lin- 
ing are not joined at the waist and lower edge. 
The separate drop skirt is considered hy- 
gienic because it reduces the weight of clothes necessary, 
as it combines a lining and petticoat. This style of 
dressing has many advantages, both from a hygienic 
and economical point of view. It is no longer con- 
sidered healthful to weight oneself down with unneces- 
sary garments. The economical advantage of the drop 
skirt is that if made entirely separate from the skirt, 
with separate placket closing and waist band, and if 
black or a neutral color is selected, one drop skirt may 
be made to do service for several gowns, unless the outer 
material is transparent and requires a special color ai 
a lining. 

THE DROP SKIRT 

When the drop skirt is made without a dust ruffle, 
the flounce is joined with an ordinary seam on the 
right side to the lower edge of the gored portion, and 
is finished with a narrow facing of the goods. One 
edge of this facing is sewed in with the seam that joins 
the skirt and flounce, and the opposite edge is turned 

.77 



78 HOME DRESSMAKING 

in and over the raw edges of the seam. In this position 
it is stitched to the skirt along the upper edge. The 
flounce on a dress skirt of tub material is applied in 
the same way. 

If the drop skirt or petticoat is made with a dust 
ruffle, which is thought by some dressmakers to prolong 
the life of a garment, the gored portion is cut within 
two inches of the full length required for the skirt, 
and a two inch bias ruffle of the goods is joined to 
the edge and finished in the same way as the flounce 
just described. 

When the skirt is made with a dust ruffle, the 
outer flounce must be laid on the skirt and the raw 
edge at the top covered with a braid or bias band of 
the goods, basted flat and stitched on both edges. 

A skirt of this character often has a silk flounce 
mounted on a gored portion of less expensive material. 
It will have, when worn, the appearance of a silk skirt 
and will be much less expensive than if the whole gar- 
ment were of silk. 



FINISHING MATERIALS FOR DROP SKIRTS 

For drop skirts, soft silks are usually employed, 
but there are many substitutes that may be used when 
cost must be considered. These skirts usually have a 
plaited flounce at the lower edge, to be made any depth 
desired. 

The drop skirt is cut from an ordinary five or seven 
gored petticoat pattern, and the length of plaiting to 
be used at the bottom must be determined before cutting 



DROP SKIRTS 79 

the gores, as the longer the flounce the shorter will be 
the gores. The length of the flounce must betaken after 
the lower edge is hemmed, allowing three-eighths of an 
inch at the top for seaming it to the upper portion. 
The gores are stitched, the placket finished and the 
inverted plaits at the back adjusted and stitched before 
the waist is finished. 

FINISHING THE PLACKET 

To make the placket finish, take a straight piece of 
the material two inches wide and twice the length of 
the opening. Starting at the top of the right side and 
continuing up the left side, sew the piece to the edge 
of both gores, with an ordinary seam arranged to come 
on the right side. Crease the opposite edge of the facing 
and then fold the strip over the raw edges of the seam 
so that the creased edge of the goods comes on a line with 
the stitching of the seam. Baste it in this position 
and make a second row of stitching to hold it in place 
one-eighth of an inch from the edge. 

Try the skirt on, and if it has an inverted plait at 
the back arrange it so it comes together at the centre. 
Stitch the plait in this position, one-half inch from the 
edge on either side, for the full length of the placket. 

WAIST FINISH 

To finish the waist of a drop skirt, cut a bias bind- 
ing of the goods one inch wide and the length required. 
Stitch the binding to the skirt on the right side, be- 
ginning at the right side of the back, first having turned 



80 HOME DRESSMAKING 

under the placket strip. On the left side the strip Is 
allowed to extend and the right side is hooked over on 
it. The opposite edge of the bias facing is turned down 
one-quarter of an inch and the facing basted down on 
the wrong side of the petticoat. It will be more satis- 
factory if the binding is hemmed down by hand instead 
of stitched on by machine. 



CHAPTER XIV 
MAKING COATS AND JACKETS 

THAT it is more difficult to make a coat or jacket 
than it is to do ordinary sewing cannot be de- 
nied, and unless one is careful, neat and willing 
to spend a little time in doing the work it is useless 
to think that you will be satisfied with the results. How- 
ever, perfectly wonderful tailored work has been turned 
out by amateurs who had no knowledge of the art beyond 
that of ordinary sewing. These women followed ac- 
curately the advice given them on the subject. 

First, the cloth must be prepared, directions for 
which have been given in a previous article. 

Second, the nap and grain of the goods must be 
observed when placing the pattern, directions for which 
have also been given. 

Third, the cutting of the goods must be accurate, 
and all perforations, notches, etc., plainly marked, so 
that they will not be lost sight of. 

While elaborate semi-tailored models may appear 
difficult to make, they are really quite simple in com- 
parison with the severe straight lines of the strictly 
tailored models, which test the skill of even the expert. 
Therefore one cannot be too particular with work of 
this kind. 

81 



82 HOME DRESSMAKING 

OUTLINE THE EDGES 

When cutting a short jacket from double width 
goods, fifty-two or fifty-four inches wide, the pattern 
will generally lie to advantage with the goods doubled 
lengthwise through the centre. But for a full length 
coat it may be necessary to open it out the full width 
of the material and fit the various pieces of the pattern 
in, so that the nap runs toward the bottom of each 
piece. This arrangement is most important, and any 
deviation will spoil the whole garment. Therefore, it 
is well to go over the pieces a second time before cutting 
them out and see that no mistake has been made in 
placing them. 

Having all the pieces laid properly on the wrong 
side of the cloth, outline the edges with tailor's chalk, 
and if the goods are double cut out the pieces along the 
marked lines. When the cloth is laid single, cut oi¥ 
the length on which the outline of the pattern is marked 
and reverse the remaining piece so that the nap runs 
in the same direction as that on which the pattern is 
placed; lay it under the piece on which the outline is 
chalked, with the two right sides facing, and cut through 
both thicknesses of the cloth. 

In order not to become confused later and to avoid 
all trouble, mark with thread all lines of seams and all 
marks that indicate points of construction or that have 
anything to do with the finishing of the garment. 

FACINGS AND BUST FORMS 

The most important parts of a coat are the front 
facings and bust forms, which are developed in can- 



MAKING COATS AND JACKETS 83 

vas and haircloth. To make these properly at home is 
the most difficult part of the construction of a coat, 
and as they are inexpensive and can be had in any 
large department store, it is not wise to try one's 
patience in making them. 

They are ordered by the required bust measure 
and are fastened in the fronts of the coat with several 
rows of basting stitches. Careful basting and thorough 
pressing at every stage of the work is the secret of 
success, and a hot iron, a well padded pressing board 
and a damp cloth are as necessary to the successful de- 
velopment of a jacket as is a machine to sew the ma- 
terial. 

At this stage the front edges of the coat are pressed, 
and then the various pieces are basted together. The 
coat is then ready to be tried on, right side out. If 
the pattern has been properly adjusted any slight alter- 
ation necessary can be made at the under arm and 
shoulder seams. 



EIP THE SEAMS 

If the coat is too tight or too loose over the chest, 
the under arm seams are ripped and the necessary changes 
made. A similar alteration may be required at the back, 
or the back may need to be adjusted and not the front. 

After the coat has been fitted baste the changes along 
the line of pinning, and if the edges of the seams are 
uneven trim them off an even distance from the line 
of basting. Try the coat on again and see that it is 
perfectly satisfactory. 



84 HOME DRESSMAKING 

Cut a shaped piece of tailor's canvas, about three 
inches wide, that has been previously shrunken, to fit 
the back of the neck, and long enough, so that it can 
be stitched in with the shoulder seams. Baste it in 
position along both edges. Similar pieces are shaped 
for the armholes at the back and under arms, and 
basted in place. At this point the seams are stitched 
and thoroughly pressed. All stitching on the cloth must 
be done before the lining is put in the coat. 

COAT COLLARS 

Collars for coats are double and are cut from 
the cloth by a pattern. The canvas interlining is 
cut three-eighths of an inch smaller all around and is 
held at the under side of the collar by padding stitches. 
These are a series of short basting stitches made while 
holding the canvas uppermost, and they catch the cloth, 
but do not show through on the right side. 

You will notice a curved row of perforations in 
the collar pattern that goes into the neck of the coat 
and forms the standing part of the collar. Successive 
rows of machine stitching, about one-quarter of an inch 
apart, are made from the perforated line to the edge 
of the collar that joins the neck. Turn the edges of 
the cloth over the canvas on the outside edge and ends 
of the collar, and after they are basted in position press 
them thoroughly. 

LINING A COAT 

If one can possibly afford it, silk or satin should be 
used for lining coats or jackets. One is well repaid 
for the extra money spent in getting a good quality of 



MAKING COATS AND JACKETS 



85 



lining, as it will outwear two or three cheap linings; 
therefore, it is really less expensive in the end. Skinner 
satin, silk serge and taffeta are the most popular weaves 




LiMin<tAca<^T|3 



for the purpose. For a strictly tailored garment it is 
more desirable to have the lining in a shade that matches 
the cloth than in a contrasting color or white and, inci- 
dentally, the first is more serviceable. 

The lining is cut from the coat pattern, and all 
alterations made in fitting the coat must be allowed for 
when cutting the lining. The fronts extend only one 
inch beyond the edge of the cloth facings. The back is 
cut two inches wider than the pattern, one inch being 
allowed on each half. This provides for a plait at the 
centre that gives an easy fit. 



86 HOME DRESSMAKING 

If the lining in a coat is the least bit tight it will 
draw the outside material and cause wrinkles. If the 
back of the pattern is in two parts, the pieces must 
be joined before making the necessary one inch plait 
at the centre back, which is basted the full length of the 
lining. Lay this lining piece in place on the inside of 
the back of the coat and baste the raw edges to the 
seams of the coat over which they lie. Take the side 
back pieces, and after placing them in the coat baste 
them to the cloth, through the centre, lengthwise. Turn 
under, three-eighths of an inch, the edge that overlaps 
the back lining, and baste that to the silk. 



AT THE WAIST LINE 

At the waist line, and a few inches above and below 
that point, the edges of both pieces of silk should be 
notched, in order to prevent them drawing and spoiling 
the set of the coat. Place the other pieces of the lining 
and finish the seams in the same way. At the bottom 
turn the lining up, allowing about one-half inch of the 
cloth to show below, and baste the edge of the lining 
in position. At the fronts slip the silk under the cloth 
facing and baste it down. 

At the back of the neck turn the edge under and 
baste the silk and cloth together. 

All around the armholes baste the cloth and lining 
together one-quarter of an inch from the raw edge. The 
edge of each lining seam, the edge at the bottom of the 
coat and the edges at the front and at the back of 
the collar must all be neatly hemmed in position, care 



MAKING COATS AND JACKETS 87 

being taken to use long, loose stitches, and see that 
they do not go through to the right side of the cloth, 
or pull the silk and give it a drawn appearance. 

INTERLINING 

If an interlining is to he used a soft gray flannel 
or lining cotton flannel will give satisfaction. The back 
and the fronts of this are cut without seam and reach 
only to the waist line. The lining is fitted across the 
back from one under arm seam to the other, and tacked 
in position with basting stitches. The flannel may be 
slashed in places, if necessary, in order to make it fit. 

Fit the front pieces in the same way and slip the 
front edges under the front facings. At the under 
arm seams lay one edge of the flannel over the other 
and catch-stitch them flat so as to avoid any extra 
thickness. 

Any padding necessary around the armholes, in or- 
der to round out the form and prevent an ugly break 
in the material, is placed before the lining is put in. 

COAT SLEEVES 

Baste the seams of the sleeve, and after basting the 
sleeves in the coat slip the garment on to see whether 
they fit, and also whether the length is perfect. If 
alterations are needed they must be made at the inside 
seam. The cloth at the wrist should be left one inch 
longer than the sleeve is to be when finished. Stitch the 
seams and press them open. One inch from the raw edge 
at the wrist baste to the wrong side of the sleeve a four- 



88 HOME DRESSMAKING 

inch bias strip of canvas, and turn the cloth up over 
it, holding the edge of the cloth to the canvas with 
catch stitches. Stitch the edge of the sleeves to match 
the fronts of the coat. 

If one wishes to simulate a cuff by rows of stitching 
this must be done before the inside seam of the sleeve 
is sewed up. To obtain the desired effect two or three 
rows of machine stitching are made straight across the 
sleeves the desired distance from the bottom of the 
sleeve. 

The lining for sleeves is cut like the outside, the 
pieces joined and the seams pressed open. The lining 
is hemmed by hand at the wrist, the edge coming just 
above the turned up edge of the cloth. Carefully draw 
it up in place, and baste around the sleeve about four 
inches from the top. Baste the sleeves in the coat and 
try it on to see that they are properly placed before 
stitching them. The sleeve lining is then drawn up 
so that it covers the raw edges of the armhole seam, 
and the edge of the silk turned in and hemmed down 
all around to the coat lining. 

COAT POCKETS 

It is difficult for the amateur to place pockets in a 
coat and finish them nicely, and as many of the best 
models bought ready made do not show pockets it is 
not necessary to burden one's self with this work. 

However, if one wishes to attempt their making, full 
directions for the work will be found in the article on 
boys' clothing, entitled "Making and Adjusting Pockets." 



CHAPTER Xy 
INFANTS' CLOTHES 

IT IS quite nattiral that the prospective mother should 
want her baby's clothes to be attractive, and even 
though she feels that economy must be practiced 
there is no reason why she should not have nice things 
if she is wise and omits elaborate trimmings and un- 
necessary garments. 

An infant's wardrobe includes dresses, sacks, night- 
gown, wrappers, skirts, pinning blanket, bands, shirts, 
socks, boots and a wrap and cap. All of these may 
be made at home, and the simpler the styles selected the 
more satisfactory they will be. 

HYGIENIC GARMENTS 

The finest and softest materials that one can afford 
should be selected, and it is best not to trim any of 
the garments intended for general wear with anything 
more than a frill of soft Val lace at the neck and on 
the sleeves, or a little hand embroidery. Feather stitch- 
ing and French knots work up beautifully on these gar- 
ments and are particularly pretty on dresses of the yoke 
order. 

If one wishes one or two very fine dresses of batiste 

89 



90 HOME DRESSMAKING 

or Swiss, these can be made up for special wear and 
may be elaborated with yoke or panels of lace and em- 
broidery. Skirts for wear with these dresses can have 
the lower edges trimmed to correspond. 

Many mothers do not consider it hygienic to have 
a child's first clothes very long, and the majority of 
mothers make them only long enough to cover and pro- 
tect the little feet. The little socks, boots and shirts 
are bought ready to wear. The bands should be of 
fine white flannel, about six inches wide and eighteen 
inches long. It is better to leave them without hemming, 
as the roll formed by turning the goods might irritate 
the tender skin. 

Both flannel and cotton petticoats should be pro- 
vided for the little one. The body portions of the 
flannel skirts must be made of muslin. 

The pinning blanket, wrapper and sack must each 
be of fine flannel, and white is preferable. The hems 
may be feather stitched with blue or pink if desired, 
and a few French knots arranged on the hems will 
make them very dainty. 



NIGHTGOWNS AND PETTICOATS 

The nightgowns and cotton petticoats should be 
of cambric or nainsook, and the every-day dresses of 
the same material in a finer quality. 

The weight of the material selected for the cape and 
cap must depend upon the season of the year. White 
flannel is always given preference for the cape, and 
if more warmth is required a quilted silk lining may 



INFANTS' CLOTHES 91 

be added. A Dutch cap of lace and fine linen is as pretty 
as anything, and if made a little large can be worn 
over a lining in cold weather. It is not considered good 
taste to have either of these garments elaborately 
trimmed, and often they are without ornamentation other 
than feather stitching outlining the hems. For the va- 
rious finishes and seams required In making these 
garments refer to the articles on "Stitches and Seams." 
A dainty little inexpensive cap can be made by fold- 
ing a large sized lady's handkerchief and finishing it 
with bows and ribbon ties. 



CHAPTER XVI 
CHILDREN'S CLOTHES 

IT is well known that children in America are better 
dressed than anywhere else in the world, and this 
is because simplicity rules. Our mothers well un- 
derstand the value of healthful exercise, and therefore 
refuse to copy the French, who dress children like dolls, 
in frocks that are ruffled and frilled and bowed. On 
the other hand, they object to the English fashions that 
make the little ones appear like diminutive men and 
women. They strike a happy medium, and select suit- 
able materials that are not injured by frequent visits 
to the laundry, and such goods are made in becoming, 
youthful styles. American mothers also appreciate the 
great advantage tub goods have over woollen weaves, 
which latter must be sent to a cleaner when soiled or 
washed at the risk of ruining the garment. Cotton or 
linen goods are used almost exclusively for little folks' 
frocks. The heavier weaves such as rep, pique, duck, 
galatea and kindergarten cloth are quite warm enough 
for ordinary wear through the winter, and if during very 
cold weather additional warmth is required, an extra 
undergarment in the way of a flannel petticoat is added. 

92 



CHILDREN'S CLOTHES 93 

THE ONE PIECE STYLE 

The every-day dresses are almost invariably of the 
one piece style — that is, with body and skirt joined — 
which greatly simplifies the making and laundering. 
The chief charm about children's clothes is their fresh- 
ness, and it is much better to have several dresses that 
will afford frequent changes, even though they are made 
without tucks or other trimmings, than to limit the num- 
ber and put more work and expensive trimmings on 
one or two. 

Let us talk of the every day school dress, that must 
be both useful and pretty. There is a question whether 
white or colored goods are the more desirable, and there 
is much to be said in favor of both. Colored goods do 
not show soil so readily, particularly if of a plaid or 
striped design, and therefore may be worn much longer 
without laundering than white. But if one has a good 
laundress and can afford the extra expense white is 
very satisfactory, because no matter how soiled it gets 
or what stains are on it a good tubbing makes it equal 
to new, while if colors were given similar treatment they 
would fade. Therefore, each mother must decide for 
herself and select whichever seems most practical. 

THREE POPULAR MODELS 

There are three popular models for school dresses 
that are most satisfactory — the sailor suit, which is also 
called a "middy"; the Russian blouse, that is not a 
blouse at all, but a plain, straight frock, made with 



94 HOME DRESSMAKING 

plaits, tucks or perfectly plain, and fastened at the front 
or side front, and occasionally varied by a yoke; and, 
last, the little skirt and waist dresses. The latter style 
has the blouse ending at the normal waist line and 
tucked or gathered skirt, or it may have the long French 
waist and very short skirt. 

On all these dresses if trimming is used it must be 
very sparingly applied, and on those of the sailor or 
middy variety goods of a contrasting color for facings, 
collars, cuffs, &c., is all that is employed. On the other 
dresses band effects are given preference, and outline 
the collar, cuffs and front or side front closing. On 
frocks of the skirt and waist order the band trimming 
is sometimes used to conceal the joining in place of a 
belt of the goods. 

As all of these styles are easy to develop, we will 
talk of them collectively. After the material is cut out, 
all tucks and box plaits must be basted, stitched and 
pressed in place before the pieces of the garment are 
joined. It will often be found when working with nar- 
row materials that they will need to be pieced if there 
are many tucks or plaits in the garment. The piecing 
should be arranged so that the joining seam will be 
concealed under the fold of a tuck or plait. 

This is very easy to arrange if one will watch when 
cutting out the material to see that the piecing is made 
in the proper place. It is not wise to have it come 
on the edge, or at the seam of a tuck or a fold, because 
this interferes when ironing the garment, and is apt 
to make it appear drawn or puckered. When placed 
under the fold it will not be seen. 



CHILDREN'S CLOTHES 95 

MAKING children's DRESSES 

Children grow so rapidly that it is never wise to buy 
very expensive materials for their dresses. But even 
with inexpensive goods one wishes them to be worn more 
than one season, and if provision is made for lengthen- 
ing the little gowns there is no reason why they cannot 
be used. If they are amply large across the chest and 
back when made they are not apt to require enlarging, 
but will need to be made longer and have the sleeves 
lengthened. 

SLEEVES AND SKIRTS 

When making the dress the sleeves should be cut one 
or two inches longer than necessary and the extra length 
taken up in tucks, arranged where they appeair to the 
best advantage. This probably will be midway between 
the top of the arm and the elbow or close to the cuff 
at the wrist, depending upon the style of the dress and 
the sleeve. 

In like manner the skirt should be cut longer than 
necessary. This extra material can be disposed of in 
three different ways. A gathered skirt may have sev- 
eral tucks placed just above the hem. A Russian blouse 
can have a very deep hem that can later be let out and 
a facing used to replace it. A plaited skirt should have 
a tuck run in the under side of the hem and arranged 
so that when finished the hem will be not more than two 
or two and a half inches wide. 

This tuck is made after the regulation quarter of an 
inch turn has been made along the raw edge of the ma- 
terial. Two inches below the turned edge crease for the 



96 



HOME DRESSMAKING 



edge of the tuck and run a row of stitching one-half of 
the distance from the creased edge that has been al- 
lowed for lengthening. The hem is then turned up, and 
when stitched the whole is pressed in position. When a 
dress needs enlarging across the back or chest the under 
arm seams can be let out. 

When basting tucks or plaits care must be taken to 
follow the markings indicating the line of stitching, 




otherwise they will not hang correctly, and the set of 
the garment will be spoiled. 

Skirts must be hemmed before the plaits are basted, 
and they must be placed in position before they are 
joined to the waist. 

YOKES 

Yoke dresses have the lower portion joined in two 
ways. If the yoke is double the edge of the dress and 
the lower edges of the inside yoke are joined with a 
three-eighths of an inch seam turned so that the raw 
edges are on the outside. Then the outside yoke is 



CHILDREN'S CLOTHES 97 

basted flat to the lower portion of the dress. A double 
row of stitching placed one-eighth of an inch from the 
edge and one-eighth of an inch apart, is used as a 
finish. See illustration. 

When a single yoke is used a strap is the most ef- 
fective and durable finish. To arrange for this, join 
the yoke and lower portion with an ordinary seam on 
the right side three-eighths of an inch wide. This is 
turned up on the yoke and basted flat. A strip of the 
material cut on the bias and with edges turned in, or a 
piece of wash braid may be used as a strap. This is 
basted so as to cover the seam completely. It is then 
finished with a row of stitching on each edge. 

Seams of children's dresses are finished either with a 
French or flat fell according to the material employed. 
For sheer goods the French fell is desirable, but this 
finish is rather clumsy for heavy weaves and the flat 
fell will be found more practical. 

DRESSY FROCKS FOR CHILDREN 

For dancing, school and party wear sheer materials, 
such as handkerchief linen, batiste, lawn, organdie, 
Swiss, both plain and embroidered, and India linen are 
used. These materials may be had in qualities varying 
in price from fifteen or twenty cents a yard to one dol- 
lar or a dollar and a quarter a yard. 

Preference is given to the quality of the material 
rather than elaborate trimming. Hand embroidery, 
baby Irish crochet, fine Cluny and French Valenciennes 
are used as a trimming, and a combination of lace and 



98 HOME DRESSMAKING 

embroidery is most pleasing. Groups of hand run tucks 
and strips of insertion are a pretty combination, and 
tiny pin tucks arranged in groups with feather stitching 
between is dainty. 



FRILLS AND RUFFLES 

Even in party dresses ruffles and frills are not con- 
sidered in good taste, and the favored models are the 
Empire, with short waist and long skirt, and the French 
dress with an exaggerated long waist and very short 
skirt. 

French dresses have the trimming very evenly dis- 
tributed on the waist and skirt, but on the waist it must 
run lengthwise to accentuate the length, while on the 
skirt it runs parallel with the hem, making the skirt 
appear even shorter than it really is. The sleeves are 
usually short and puffed, finished with a band. If the 
puff is trimmed the insertion is arranged lengthwise ex- 
cept that on the band, which goes around the arm. 

In Empire models the elaboration is massed on the 
yoke and the lower part of the skirt. Perfectly lovely 
little inexpensive dresses can be made if one will give a 
little time to the work. Allover materials can be bought 
from which to cut the yoke, or it can be made by com- 
bining tucks and strips of lace or embroidered insertion. 

To do this a stiff piece of paper is cut the exact 
size of the tissue paper pattern and the yoke made right 
over it. The strips are basted on the paper and can 
be joined by hand or machine stitching. When the lat- 



CHILDREN'S CLOTHES 99 

ter is employed it is sewed to the paper, which is torn 
away afterward. 

On the skirt just above the hem trimming placed so 
that it runs around the skirt must be arranged to cor- 
respond. The neck can be finished with a narrow band 
collar to match the yoke, or left low and edged with 
lace. 

FANCY SLEEVES 

Short puffed sleeves are in keeping with this style 
of dress, and should be finished with a band that matches 
the trimming on the lower part of the skirt. A dress 
of fine linen will be pretty with the yoke and edge of 
the skirt hand embroidered in a pattern design. 

The yokes and skirts of these Empire frocks, whether 
the pattern is circular gathered or plaited, are joined 
with a French fell or a band of insertion. 

Applying insertion to these little gowns is not diffi- 
cult, and may be satisfactorily done by machine. The 
work is done in two ways. First, we will talk of ar- 
ranging it on plain material or placing insertion just 
above the hem. 

Baste the strip in place with the wrong side of the 
lace on the right side of the goods, and be sure to keep 
it perfectly straight. When it is placed above a hem, 
the one edge of the lace must come just over the line 
of stitching which holds the hem. Both edges of the 
insertion are basted to the goods, and then the material 
under the lace is cut through the centre between the 
basting threads. 

The goods just cut is turned back on each side even 



100 



HOME DRESSMAKING 



with the basting thread, and the material basted in this 
position. It is then turned on the right side and a row 
of machine stitching made along each edge of the in- 
sertion. 

APPLYING INSERTIONS AND OTHER TRIMMINGS 

The prettiest way to apply insertion where this 
method may be used is to slash the goods between which 
it is to be placed and turn the edges back one-eighth of 
an inch. Baste the turned edges of the material over 
the edges of the lace on the right side, so that the raw 




edge of the goods will not show, and stitch them to- 
gether flat. 

This method gives the appearance of the lace being 
under the goods, instead of on top, which is more ef- 
fective. Care must be taken not to stretch the goods, 
or the garment will lose its shape. Unless one is expert 



CHILDREN'S CLOTHES 101 

at this kind of work it is not wise to attempt inserting 
trimming in this way on a bias piece of material. 

Tucks and insertions are joined by stitching the in- 
sertion on one side exactly even with the edge of the 
tuck, and on the other side along the stitched line of the 
tuck. 

Embroidery is joined to a single piece of material, 
such as the edge of a bertha or skirt, either with a 
French fell or under a band. When the latter method 
is preferred proceed with the work in the same manner 
as when joining the lower portion of a dress to a single 
yoke. 



CHAPTER XVII 
MAKING BOYS' CLOTHING 

MANY mothers make their boys' clothes and many 
more would do so if they understood how to go 
about the work. While the making is not at all 
difficult, a few details of finish, especially the pockets, are 
perplexing, and a little explanation will greatly simplify 
the work. After the garment is cut out, the goods first 
having been shrunk, mark the position of the pockets as 
indicated by the perforation in the pattern. 

WELT POCKETS 

To make the welt pockets, which have no lap and 
which are generally used for boys' clothes, baste with 
a colored thread through the line of markings from end 
to end so that the stitches will show on both sides of 
the cloth. Cut a piece of the cloth two inches wide and 
one inch longer than the pocket, and with two right 
sides of the material together baste it in a position so 
that the thread marking the pocket comes directly in 
the centre lengthwise. 

From the wrong side of the larger piece of cloth 
make another row of basting directly over the other, 
so that it shows through the strip just applied. On 



MAKING BOYS' CLOTHING 103 

the wrong side of the large piece of material baste a 
piece of tailor's canvas the same size, and directly under 
the strip of cloth just applied. A little more than one- 
eighth of an inch each side of the basting thread make 
a row of machine stitching through the two thicknesses 
of cloth and the canvas. 

The stitching must not run farther than the 
mark where the incision is to be made. With a sharp 
pair of scissors or a knife, cut carefully along the 
line of basting, through both the cloth and the can- 
vas. Through the opening just made turn the edges 
of the small piece of cloth and baste it close to the 
edge of the turn, allowing only enough of it to show 
to give a welt or cord effect beyond the stitched edge 
of the seam. The remainder of the cloth is then basted 
flat on the wrong side close to the edge. 



COMPLETING THE POCKET 

The two cord edges of the pocket are drawn to- 
gether with a large over and over stitch, and the whole 
pressed perfectly flat on the wrong side, by laying a 
damp cloth over the goods and ironing until perfectly 
dry. A row of machine stitching should be made on 
the right side all around the pocket as close to the 
seam as possible. If the opening for the pocket is 
straight, the pocket may be stitched in when the last 
row of stitching is made, but if curved, the top of the 
pocket must be shaped accordingly and hemmed in by 
hand. 



104. HOME DRESSMAKING 

MAKING AND ADJUSTING POCKETS 

Pockets in boys' clothing must be made amply large; 
one piece of the pocket proper should be one inch longer 
than the other The longer piece should be faced at 
the top with a piece of the cloth two inches wide, and 
this should be stitched flat. 

To adjust the pocket, if the opening is straight, turn 
down the upper edge of the smaller piece one-quarter 
of an inch, and place it with the raw edge just turned 
next to the wrong side of the garment, and baste it in 
position with the upper edge one-eighth of an inch be- 
low the pocket opening. Stitch from the right side. 
Lay the longer piece on top of the pocket piece just 
sewed with the cloth facing next to the garment and 
the lower edges of the pieces perfectly even, one-eighth 
of an inch above the upper edge of the pocket opening. 
Baste this to the garment straight across and stitch from 
the right side. 

The stitching used to finish the pocket will hold 
each piece in place, after which the edges of the pockets 
are turned over one-quarter of an inch all around, and 
stitched. The ends of the pockets are finished on the 
right side with a buttonholed bar, which prevents their 
tearing. 

This is made by taking several stitches so that the 
threads show and working over them with a button- 
hole stitch. If these directions are not perfectly clear 
to you examine the pocket in a man's garment and 
you will at once understand how to go about the work. 

The side pockets in the trousers are made by bast- 



MAKING BOYS' CLOTHING 105 

ing to the front portion a piece of cloth one and one- 
half inches wide and sufficiently long to extend one-half 
inch above and one inch below the notches at the top 
and bottom that indicate the pocket opening. The 
two pocket pieces are cut from lining material and 
must be amply large, the size varying with the age 
of the boy for whom they are intended. Both pockets 
are the same size. 

Baste one side of the pocket piece to the front of 
the trousers over the facing just applied, so that one 
row of stitching will hold them both, and stitch from 
notch, then stitch the edges of the facing to the pocket. 
The other piece of the pocket should be seamed to the 
pocket opening of the back portion of the trousers, 
so as to bring the seam on the wrong side. The seam 
is turned back on the pocket and stitched flat one- 
eighth of an inch from the edge on the right side. 

The outside leg seam of the trousers may now be 
basted and stitched with an ordinary seam that is turned 
toward the front and stitched again on the right side of 
the goods, one-eighth of an inch from the seam. The 
pocket opening is caught together and pressed as be- 
fore described. The edges of the pocket are then turned 
and seamed. 



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